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B A S S P L AY E R . C O M
THUMBS
UP!
SLAP BASS
TIPS & TRICKS
FROM 20 TOP
THUMPERS
FLEA
LES CLAYPOOL
LARRY GRAHAM
VICTOR WOOTEN
MARCUS MILLER
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“I WANNA TAKE YOU HIGHER”
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CONTENTS
THE MASTERS
8
LARRY GRAHAM Sly & the Family Stone, Graham Central Station
12
ALPHONSO JOHNSON Weather Report, Jeffrey Osborne, Sergio Mendes
14
ABRAHAM LABORIEL Al Jarreau, Quincy Jones, Michael Jackson
16
ANDREW GOUCHE Chaka Khan, Andrae Crouch, L.A. Mass Choir
18
CHUCK RAINEY Aretha Franklin, Steely Dan
20
DOUG WIMBISH Sugar Hill Gang, Living Colour
22
FLEA Red Hot Chili Peppers
24
LOUIS JOHNSON The Brothers Johnson
26
LES CLAYPOOL Primus
30
MARCUS MILLER Miles Davis, Luther Vandross, David Sanborn
32
MARK ADAMS Slave
34
NATE PHILLIPS Pleasure
36
“READY” FREDDIE WASHINGTON Patrice Rushen, Herbie Hancock, Patti LaBelle
38
MARK KING Level 42
39
ROBERT TRUJILLO Infectious Grooves, Suicidal Tendencies, Metallica
40
RONALD LAPREAD The Commodores
42
VICTOR WOOTEN Béla Fleck & the Flecktones, SMV
44
STANLEY CLARKE Return To Forever, Animal Logic, Vertú
WOODSHED
46 ALEXIS SKLAREVSKI Bottom Line Bass
49 SLAP BASICS Hand positioning
50 GLENN LETSCH Slapping & popping: Five lessons
TRANSCRIPTIONS
56 DAVID SANBORN’S “HIDEAWAY”
Neil Jason puts on a smooth-slapping clinic on saxophonist Sanborn’s
1979 instrumental classic.
62
4
JAMIROQUAI’S “VIRTUAL INSANITY”
Stuart Zender makes an audacious statement with this killer line from
1997’s Traveling Without Moving.
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Special Sauce
IN HIS “ARTISTRY” COLUMN IN THE SPRING ’90
Premiere issue of BASS PLAYER, Anthony Jackson famously
referred to slapping as the “ketchup of the bass world.”
Of course, it wasn’t the technique itself that Anthony was
indicting; Jackson’s clever metaphor was meant to point
out that the practice of slapping, applied to an otherwise
soulless, un-groovy bass line, was just about as tasty as
a patty-free burger or a wiener-less dog.
I’ve gotta go with AJ on this one—in my years browsing music shops and working trade shows, I’ve heard so
many “look-at-me” slap licks that the mere sight of an
extended thumping thumb makes me want to dish out
a slap-style licking of my own.
I know—I shouldn’t be so harsh. After all, we can’t all be like Marcus, Victor,
Les, Larry, Flea, or any other of the slap masters profiled in this special issue.
For me, what sets these players apart from the rest of us is their ability to use
the technique as a special sauce they apply in dabs, careful not to overpower the
musical ideas they are attempting to season.
I have to confess that sending this issue out to the masses makes me feel like
a glutton for punishment; it probably means that next time I wander into a music
store or walk the NAMM Show halls, I’ll hear a few more slaps and pops than
I otherwise would have. But if it means that those slappers are more educated,
musically sensitive sort, I’m good with that. I’ll keep my slap-downs to myself.
Have fun out there, and remember to keep the music meaty (don’t smother the
seitan). In other words, go easy on the sauce, and always strive to Dig Deeper!
Group Publisher Joe Perry
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6
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THE MASTERS
Sly & T he Family Stone,
Graham Central Station
Larry
Graham
Can You
Handle It?
THANKS TO THE FUNK FANS AT WARNER
Bros. Records, one of the best places to experience or revisit Larry Graham’s landmark
bass playing is on the recently released retrospective The Best of Larry Graham and
Graham Central Station, Vol. 1. (The liner
notes promise a Volume 2.) The 11 cuts
cover the nine-year period between 1974 and
1982; during the last three of those years,
Graham was a solo artist, reaching #1 with
his million-selling ballad, “One in a Million
You.” The rest of the tracks reveal Graham’s
diverse influences: blues and gospel; crooners ranging from Johnny Hartman to Ray
Charles; such ’50s phenoms as Elvis Presley and Chuck Berry; doo-wop music; and
the ’60s rock/funk impact of bandmate Sly
Stone and guitar god Jimi Hendrix. Basswise, Graham thumps his way from the
slippery, simple line on the slow-dance “Is
It Love?” to the multi-bass-overdubbed,
effects-drenched, furious funk of “Now D-UWanta Dance.” The examples shown here
are all taken from the Best of collection.
Example 1 is the opening five bars of
“Hair”; BP readers can contrast this line
with a transcription of T.M. Stevens’s cover
version, from his album Boom! [Polystar/
Japan], which appeared in June ’96. Graham’s original part is grungier, with more
variations in the line throughout the track.
Of interest in bars 1–5 are the staccato feel
and the classic Graham fill in bars 4–5. Also
notable is the harmony, which (like so many
funk songs) contains an ambiguous 3rd; here,
the lone chord seems to fluctuate between
E7, Em7, and E7#9 tonalities. Example 1a
occurs at the 3:07 mark and repeats eight
times, forming a sort of second breakdown
section before the final chorus. The two-bar
phrase jumps out at you because Graham
doesn’t play on the one (the downbeat on
©1974 Graham-O-Tunes Music,
Inc. International copyright
secured. All rights reserved.
Used by permission.
the first beat of each bar). As for the unison
octaves in bar 1, they may actually be the
result of two bass parts overdubbed.
Example 2 presents Graham in a pure
pop setting, with the four-bar intro/verse
figure of “Can You Handle It?” Notice the
chromatic notes in bar 2 and Larry’s use
Ex. 1
Ex. 1a
8
THE MASTERS
throughout of chord tones other than the
root, 5th, and b7th. The line still has plenty
of punch—especially in bars 3 and 4, which
contain a cool “scoop” on their first beats.
Example 2a shows the repeating two-bar
phrase from the choruses. Graham gets
down and dirty here, turning a simple climbing-octaves figure into a slick part, thanks
to his trademark slides into the notes on
the downbeats and ghost-note thumps on
the upbeats.
Example 3 line occurs at 1:48 into “It’s
Alright” and alludes to Graham’s Oakland/
Tower Of Power-style 16th-note-based funk
side. Note the opening slide from G to A
and the vintage Graham octaves at the end
of each eight-bar phrase. After this groove is
introduced, the track rides out on it.
Ex. 2
Ex. 2a
©1974 Graham-O-Tunes Music,
Inc. International copyright
secured. All rights reserved.
Used by permission.
Ex. 3
©1975 Graham-O-Tunes Music, Inc. International copyright secured. All rights reserved. Used by permission.
Ex. 4
B ASS P L AY E R .CO M S L A P M AST ERS |
9
THE MASTERS
Example 4 shows the first 12 bars of
“The Jam,” Larry’s ’60s-inspired lead bass/
slap bass duel. Following the opening trill
and pickup notes, Graham provides two
bars of melody followed by two bars of
groove. Note the numerous hammer-ons,
pull-offs, slides, bends, and other lead-melody devices. Among the hippest: the down-
ward slide on beat three of bar 6; the slow
whole-step bend from A up to B in bar 9;
and the vicious vibrato on the last beat of
bar 10. Jammin’!
©1975 Graham-O-Tunes Music, Inc. International copyright secured. All rights reserved. Used by permission.
Larry Graham (lower right)
Dance To The Music!
WHEN YOU THINK OF LARRY GRAHAM’S
bass playing with Sly & the Family Stone,
what naturally comes to mind? Could it be
that persistently swinging, short-long pulse,
exemplified by the thumb-thumping, fuzzbass-doubled “Dance to the Music” line from
Dance to the Music? Could it be the onenote thump genius of “Everyday People”? Or
the spanky octave slap [Ex. 1] from “Thank
You Falettinme (Be Mice Elf),” both from
Greatest Hits?
When Larry himself thinks of his bass
work with Sly, only one thing comes to
mind: “My mother, Dell Graham. I hadn’t
listened to any bass players when I took up
bass with her when I was about 15, and I
went straight from playing with her to playing with Sly. I considered myself a guitar
player—my heroes were Clarence ‘Gate-
10
mouth’ Brown, Chuck Berry, and B.B.
King—and I always thought I’d go back to
guitar. So my only real bass influence was
the way my mother carried bass lines with
her left-hand on the piano. A lot of things
she played went into my ear and my heart,
and influenced me later as a bass player.”
Though Larry rarely used the normal fingerstyle playing (which he calls “overhand”),
there’s much more to his lines than straightforward thumb-slaps. For example, when he
played octaves on parts like the main verse
line of “Are You Ready” [Ex. 2], he’d slide into
both octave notes together, then maintain a
bottom pulse while plucking syncopated finger-popped accents. “It’s like two lines coming
into one,” says Larry. “That’s the kind of thing
you have to do as a drummer to keep the
bass drum going with the snare. Remember,
I played drums before I played guitar.” Still,
on the quick-tempo track “Underdog” (A
Whole New Thing), one of the Family’s first
singles, Larry showed just how dexterous he
could be with that thumb. Larry’s busy line
cruises through the lively verse changes [Ex.
3], in pointed contrast to the chorus’s longheld dribble-fingered tremolo notes.
“I Wanna Take You Higher” (from Stand)
has all the elements of a great Sly & the
Family Stone song—high-energy rhythm, a
recognizable riff, and vocal shout-outs from
various band members—but it also encapsulates the quintessential elements of Larry’s style. After the intro riff—where Larry’s snarling fuzz tone gives apt voice to
bar 2’s sneering flatted 5th—the line goes
into a short-long pulse [Ex. 4a]. But first,
the rhythm gets weird, as anyone who’s
ever tried to work this line out knows. The
secret’s in bar 3’s skipped beat, and knowing
where to expect the vocals to come in—on
the very next downbeat. How did the band
come up with that? “Sometimes when you
play live, things happen,” Larry laughs. After
the chorus, when most of the band drops
out to sing “Boom-shaka-laka-laka,” Larry
reduces the short-long pulse to a one-string,
ghost-filled bounce [Ex. 4b] that perfectly
matches Greg Errico’s up-down drumming.
Listen closely and you’ll hear multiple bass
tracks in the recording, including the chorus’s fuzz-bass swoops up to the b7.
What does Larry think when he listens
to these albums now? “They sound just like
yesterday to me. We try to keep this music
alive, too. It’s a part of me, and I love them
just as much now as I did then.” SM
THE MASTERS
Ex. 1
= 110
T
T
S
P
P
P
9
7
9
T
5 7
7
T
S
P
P
9
7
T
5 7
7
T
S
T
P
P
P
9
7
9
T
5 7
7
T
T
H
5 7
7
P
P
9
7
T
0
7
Ex. 2
T
S T
10
8
T
13
11
T
T
P
T
P
13
11
11
11
T
T
T
11
11
11
11
11
Ex. 3
T
T
T
T
1
3 3
(3)
T T
T
T T
T
(1) 1 3
(1) 3
T
6
6
T
H
4 5
T T T
(6)
T
6 6
T T
(8) 8
T
6
T
0
T
4
T
T
3
4
3
T T
T T T T T
1 1
1
1
3 1
3
T
3
Ex. 4a
= 104
T
T
7
5
T
T
7
T
6
T
5
T
3
3
T
T
TH
T
T
T
T
T
5 7
3
5
TH
T T T
T
T
(5) 5 5
5
5
5 7
5
5
5
5
5
T
(0)
T
T
T
2
3
4
5
etc.
T
T
T
T
T
TH
T
T
T
T
T
T
T
T
T
T
T
(5) 5 5
5
5
5
5
5
5
5
5
5 7
5
5
5
5
5
etc.
Ex. 4b
T
T
H
H
H
H
H
H
H
H
5
0 5 (0) 5 0 5 (0) 5 0 5 0 5 (0) 5 (0) 5
“Are You Ready” by Sylvester Stewart. ©1968 (renewed) Mijac Music (BMI).
“Dance to the Music” by Sylvester Stewart. ©1968 (renewed) Mijac Music (BMI).
“Fun” by Sylvester Stewart. ©1968 (renewed) Mijac Music (BMI). “I Want To Take
You Higher by Sylvester Stewart. ©1968 (renewed) Mijac Music (BMI). “Thank
You (Falettinme Be Mice Elf)” by Sylvester Stewart. ©1970 (renewed) Mijac
Music (BMI). “Underdog” by Sylvester Stewart. ©1968 (renewed) Mijac Music
(BMI). All rights administered by Warner-Tamerlane Publishing Corp. All rights
reserved. Used by permission of Alfred Publishing Co., Inc.
B ASS P L AY E R .CO M S L A P MAST ERS |
11
THE MASTERS
Weather Report, Jeffrey Osborne, Sergio Mendes
Alphonso Johnson
“Stay With Me Tonight”
Louis Johnson-style. Having never learned
how to slap properly, I struggled at first—
but as soon as [drummer] Steve Ferrone
started playing, everything just fell into
place.” Alphonso, who played his custom
Rex Bogue 4-string with D’Addario roundwounds, recorded his bass direct and through
a miked Ampeg amp at Lion’s Share studio
in Los Angeles.
Example 1 shows the basic octave
moves needed to play the song’s verse bass
line. Start slowly and strive for evenness
of attack between your downward thumb
strikes and upward index-finger plucks,
as you work up to the track’s tempo (120
BPM). Example 2 contains the song’s verse
section sub-hook, which also opens the
track. Note the alternating rhythmic pattern of an eighth-note push into beat one,
followed by a downbeat (usually with a
SLAPPING, THUMBING, THUMPING—
whatever you call it, by the early ’80s, thumbstyle bass was all the rage on Top 40 radio.
But if we learned anything from slap pioneer Larry Graham’s creations a decade earlier, it’s that slapped parts are often simpler
than they sound. With this in mind, a great
part for beginner and intermediate slappers
to dig into is Alphonso Johnson’s bass line
on Jeffrey Osborne’s 1983 hit single “Stay
With Me Tonight,” from the singer’s A&M
album of the same name.
Johnson, a fusion-era innovator with
Weather Report and others, spent some time
on the L.A. session scene in the early ’80s
before beginning the next leg of his career
as a member of Santana. He recalls, “Keyboardist Raymond Jones, who wrote ‘Stay
With Me Tonight,’ sang me a bass line he
had in mind, and he asked me to slap it,
pickup eighth-note) on beat three. Johnson
relates, “The part Raymond sang to me had
more pushes and ghost-notes, but I broke
it down a bit by playing fewer notes and
adding some downbeats, which worked
better with Ferrone’s part.” He adds, “I
strike the strings with my thumb right at
the bottom of the fingerboard, but instead
of pulling with my index finger for the pops,
I pinch the strings between my thumb and
index finger and pull out. That’s my little
quirk; a standard index pull is probably a
better way to go.” As for the feel, Alphonso
advises, “Try to sit with Ferrone’s drum
beat in the center of the pocket. And really
focus on the downbeats while you’re playing the upbeats. A lot of times I hear students play syncopated parts, but they’re
not feeling where the downbeat is, so it
all feels a little jerky.” SM
Ex. 1
Funk pop
= 120
Gm
T
F
P
T
5
P
T
P
Eb
T
P
F
T
Bb
P
3
3
1
Gm
Bb
5
3
3
Ex. 2
C
1
C
T
8
T
P
8
6
Bb
P
F
T
P
3
6
3
1
Eb
1
Bb
F
etc.
T
P
TH
P
5
3
3
0
1
T
P
3
P
H
5
0
T
3
1
P
T
8
6
P
T
T
8
6
P
3
6
1
TH
P
T
T
1
3
3
0
1
etc.
“Stay With Me Tonight” by Raymond Edward Jones. ©1982 BMG Songs, Inc. and Zubaidah Music. All rights administered by BMG Songs,
Inc. International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corp.
12
THE MASTERS
Al Jarreau, Quincy Jones, Michael Jackson
Abraham Laboriel
Slaps, Snaps & Strums
ONE OF BASSDOM’S MOST CREATIVE
soloists is also a veteran of more than 3,000
sessions in a myriad of styles. He says simplest is best, yet he commands a mind-boggling array of mutant techniques and can
create mighty grooves while palm-slamming his strings in the best thrash fashion
or plucking them with elegant classical-guitar fingerings.
What ingredients go into Laboriel’s various
techniques? “A lot of it comes from wanting
to imitate drummers,” says Abe. “My thumb
acts like a bass drum, and the other fingers
are the snare. The rasgueado [flamencostrumming] style comes from guitar—I discovered that’s similar to a filigree-type thing
drummers do on the hi-hat. So you have the
bass drum, the snare, and the hi-hat.”
“In my bass clinics, I tell people that all
music goes oom-pah-pah,” Abe continues.
“The bass is the oom, and everything else
is the pah-pah. So when you practice bass
14
by itself, all you practice is a series of ooms,
and there’s a lot of space between them. You
could say that when I was younger, I was
incorporating the pah-pah into my thing.”
Some describe Abraham Laboriel’s style
as “five-fingered,” but he also uses two-,
three-, and four-finger techniques, a unique
thumb-snap method, percussive palm work,
and various types of strumming. He often
combines these with left-hand hammerons to produce complex rhythms, sometimes with double-stops, triple-stops, and
beyond. Here are some of Abe’s innovative techniques to try out; he demonstrates
most of these in his instructional video New
Bass Concepts:
The thumb snap Instead of the conventional downward-motion thumb slap,
Abe uses the thumb to snap strings from
beneath.
Thumb triplets A down-up motion—a
downstroke with the thumb on a fretted
note, then a hammer-on, then an upstroke
on a fretted note.
Fingernail strum-roll This is the rasgueado guitar technique. The fingernails
strike the string as the fingers are flipped
one by one from the thumb, like shooting
marbles. Abe does this from index finger
to pinkie and pinkie to index fi nger. He
likens the rapid-fire sound to a drum roll
on a closed high hat.
Right-hand percussive slapping Just
whap ’em with the flat of the hand. Usually
used in combination with left-hand muting.
Two-hand percussive slapping Both
hands get into the act. Not recommended
for ballads.
Whole-hand strum Uses the fingernails
for a flamenco-guitar sound.
Wes Montgomery-style octaves Combines left-hand muting with up-and-down
thumb strums. SM
THE MASTERS
Chaka Khan, Andrae Crouch, L.A. Mass Choir
Andrew Gouche
A Gospel Style Study
IT HAPPENS AT SOME POINT IN EVERY
gospel service—perhaps several times. It’s
the “shout music,” that ecstatic section with
the cut-time feel that gets the congregation
on its feet in jubilant celebration. “It’s spontaneous,” says Andrew Gouché. “It happens
when the spirit moves you.”
So how do you typically get into or
out of a shout music section? Gouché
shows the way: “Example 1 is a standard
gospel riff that gets used as an intro, a
breakdown, or an outro that leads back
to the groove.” Andrew begins by playing
the fi rst half straight, beginning to add
some of his own stylistic flourishes in the
second half. The dead-note pickup in bar
11 gives it a little goose, and the eighths
in bar 13 help set up the turnaround. In
bar 16, Andrew starts to break out with
eighth-notes, letting everyone know that
the shout vamp is going to get kicked up
a few notches. “It’s a busier approach,”
he says, “but it works.”
Example 2 is an insane slap figure Andrew
uses to lead into the “shout music” vamp
introduction. It’s built from an Ab blues
scale and cascades down using pull-offs
(PO) and slides (S) to make it greasy. Note
Ex. 1
from Graham Central Station’s My Radio
Sounds Good to Me [Warner Bros., 1978].
The sliding double-stop motif is pure Larry,
but Andrew cranks it up a notch by adding
slapped “machine-gun” triplets and other
tricks of the trade. Start by slowly practicing
the triplet motif that starts bars 1, 3, and 5.
It’s not all that tricky—just straight back and
forth between the thumb-slaps and pops. But
how his hammer-ons (H) in bar 4 momentarily give the motif a reverse feel. In actual
gig conditions, this would be tricky to pull
off unless it was pre-arranged—or if you’re
the conductor like Andrew.
Gouché notes that Larry Graham was
the reason he started to play bass, and the
funk extravaganza in Ex. 3 has some very
close ties to Graham’s classic “Turn It Out”
Ab/C
Db
Ddim
Ab/Eb
Ab/C
Db
Ddim
Ab/Eb
3
4
5
6
3
4
5
6
Gb
Fm
Eb/G
Db
= 138
Ab/C
Db
Ddim
Ab/Eb
E
Eb
Fm
Gb
4
3
4
G
9
H
3
16
4
(4) 5
6
6
3 4
3
7
6
3
1 3
PO
4 3
6
6 3
6
THE MASTERS
Traditionally the piano player is the leader—but when I play, I’m usually in charge,
so I get away with more.”
Andrew Gouché’s unique approach
to gospel bass playing adds new depth to
the term “inspirational music.” Naturally
inclined to play more actively than most,
he fostered his approach by taking charge
as musical director and molding the music
around his playing style. In doing so he has
raised the standards in what is expected of
gospel bassists. SM
beat one, add the high Ab with the strum
technique, slide down a half-step, and then
play the next double-stop on beat two with
a thumb slap, angling your thumb slightly
to get both notes. Bars 12 and 13 have a
classic lead-in line, but slapping it gives it
another vibe entirely.
When asked if a bass player could really
get away with playing such an outrageously
over-the-top solo in church, Andrew simply
says, “I could!” before qualifying his answer:
“It depends on how much freedom you get.
it is fast, and to make it sound real, you’ll
want to have the articulation clean. The
double-stop slides are best played by strumming the two notes with the same finger you
would use for popping. Bar 9 starts with a
classic blues-guitar type lick: Play Gb and Cb
with your 1st finger; then, while still holding the Gb, use your 2nd finger to hammer
the Cn with your 1st. Beats one through
three of bar 10 have a cool chromatic double-stop slide with a different articulation.
Slide up to the F on the first eighth-note of
Ex. 2
P
P
13
13
T
PO
11
P
T
11
13
T
P
H
(13) 11
T
11
13
PO
13
T
T
11
S
11
S
12
Ab/C
Db
8
9
T
PO
11
9
PO
11
P
T
9
9
T
11
P
T
9
9
9
T
H
11
Ddim
Ab/Eb
5
6
H
9
11
4
P
9
T
H
11
T
S
9
7
H
7
PO
9
T
H
7
9
9
(4)
Ex. 3
3
T P T T
P
T
T
S
P
T
S
13
13
13
13 15 15
11 (11)11
(11)
P
S
T
S
11
13 11
13 13 15 15 13
3
T P T T
T
P
T
T
P
S
T
13
13
13
13 15 15
11 (11)11 (11)
(6) 9
3
T P T
P
S
15
15 16 16
3
T P T T
T
(13)
(11) (11) 9
P
T
T
P
S
13
13
13
13 15 15
11 (11)11 (11)
S
6
S
T
S
P
S
11
13 11
13 13 15 15 13
T
3
T P
T
(6) 9
11
T T
P
T
T
P
S
13
13
13
13 15 15
(11)11
(11)
T
P
S
13 11
15
P
P
P
15 18 18
16 18 18
T
H
16 17
16
T
P
13
(11) 11
T
T
13
(11)
S
15
P
13
S
T
12 12
14 14
T
S
11
13
11
11
3
T P T T P T T
S
P
13
13
13
13 15 15
11 (11)11 (11)
T
S
P
11 15
15
16
3
T P T
T
(13)
(11) (11) 9
T P
T P
13
11
13
11
T P
10
13
T P
10
13
T P
11
13
T P
11
13
T P
12
13
T P
12
13
T
13
11
17
THE MASTERS
Aretha Franklin, Steely Dan
Chuck Rainey
“Rock Steady”
B E H O L D T H E S U B - H O O K—T H AT
ingenious mix of melody and groove in very
few notes, a simple phrase that both drives
and defines a song to everyone within earshot.
For all of the finely crafted, complex parts
put forth by bass guitar’s founding fathers,
a good sub-hook was never far away. James
Jamerson had “Shotgun.” Paul McCartney
had “Come Together.” Few, however, were
funkier than Chuck Rainey’s contribution
to the form, Aretha Franklin’s 1971 Top Ten
single “Rock Steady,” from Young, Gifted
and Black [Atlantic/Rhino].
Firmly established as New York’s firstcall session bassist, Rainey was soon to be
a member of Franklin’s crack touring band
when his Atlantic Records rhythm team
was brought down to Miami’s Criteria Studios to cut tracks with the Queen of Soul
in the fall of 1970. Franklin, who wrote
the song and provided a scratch vocal and
piano part, was present at the morning session along with Bernard Purdie on drums,
Cornell Dupree on guitar, Richard Tee on
organ, and Rainey. (Franklin’s final vocal,
the backup vocalists, and the horn section
would all be added later.) Chuck plucked
his ’57 Fender Precision—sunburst with a
rosewood board—keeping the volume full
up and the tone knob a quarter of the way
open. His strings were La Bella flats, and
he bypassed his favored Ampeg B-15 to
record direct only. Producer Arif Mardin
eventually wrote out charts, but none were
really needed for the simple two-chord, twosection ditty about, ahem, jumping into your
car and “taking a ride.”
After a few quick run-throughs, engineer
Gene Paul (who was responsible for Rainey’s massive bass presence in the mix), said,
“Let’s put one down so we can hear what it
sounds like.” Rainey, Purdie, Dupree, and
Tee had cut many a side together, and in
a testament to their creative powers, the
foursome issued a slamming first take. The
diligent production team of Mardin, Jerry
18
Wexler, and Tom Dowd had the musicians
rework and re-record the song for the next
three or four hours before it was finally
realized that the first pass was perfection.
It was also a virtual glossary of Rainey’s
signature moves.
THE MASTERS
Chuck
(center)
with Aretha
Franklin
The track begins with Purdie’s pickup
into four bars of hi-hat and organ. Underneath, Rainey does percussive slides up the G
string, often mistaken for organ or percussion.
Chuck explains, “It’s something I did on a lot
of records. They put some echo on it.”
By the first verse [Ex. 1], Rainey and crew
are in full-on groove mode. He recalls, “It’s
something that just came to me from what
Bernard was playing, and Cornell knew us
so well, he jumped right in with a complementary part. I probably wasn’t completely
conscious of this in the moment, but my
concept seemed to be that the back half of
the one-bar phrase—beats three and four—
would be the repeated-motif part of the
line, and the first two beats would be more
loosely improvised.”
Another key is that Chuck patted the
part to give it a weightier, broader sound.
“Patting was something I was using on
many dates back then, but this being a hit
record, it stood out more. I started doing it
in 1962, when I first came to New York and
I was working with [legendary rock organist] Bill Doggett. Patting was a way to simulate his left-hand pats on the Hammond
organ through the Leslie speaker, on tunes
like ‘Honky Tonk.’” He continues, “I would
hold my right arm straight down toward
the floor and hit the heel of my hand on
the top rounded edge of the bass; my fingers would recoil and I would catch the E
string with my index and middle fingers. It
was like a [drummer’s] flam—I’d feel the
groove in the heel and the fingers would
follow on the string an instant later. I also
used a lot of hammer-ons to give the part
a gritty, grunting sound.”
From the second verse [Letter B] on,
Rainey continues to vary the patted phrase,
adding some of his trademark upperregister fills. “Whenever I had an open
string, I was reaching up and doing that,
like on Roberta Flack’s ‘Reverend Lee’ [from
Chapter Two, Atlantic, 1970]. Here, what’s
interesting is I normally would have played
the fill at the end of the bar, but I had to
play it at the beginning of the bar in order
to leave the motif in place.”
To nail the part, Rainey advises, “Check
out the feel and the interplay. It’s dance music.
In those days people danced together, so
we played together. You can boil the whole
groove down to a swampy drum cadence,
so listen for that and then sit down right in
the pocket and go with the flow.” He allows,
“If you don’t feel comfortable patting, try
thumb-slapping the line. That’s what I do
now when I play it on a 5-string. Either way,
it remains a special song for me.” SM
Ex. 1
9
A
A7
H
5
(5) 3 5
H
3 5 5 3 5
3
5
0 5
0 5 5 3 5
3
5
5 3 5
H
3 5 5 0 5
3
5
(5) 3 5
3 5 5 3 5
3
13
H
5
17
(5) 3 5
H
3 5
3 5
3
5
5
5
5 3 5
3
5
5 3 5
5
5 3 5
3
5
0 5
0 5 (5) 0
3 4
B
H
5
(0) 3 5
H
10 11 12
3 5 5 3 5
3
5
0 5
3 5 3 5
3
0
5
5 3 5
3
5
5 3 5
3 5 (5) 3 5
3
“Rock Steady” by Aretha Franklin. © 1970 Springtime Music, Inc. All rights reserved.
19
THE MASTERS
Sugar Hill Gang, Living Colour
dawn of a new musical form, so there were
no rules or traditions to follow. As a result,
we had the freedom to experiment and be
completely creative using our backgrounds
in R&B, jazz, and rock.”
Given McDonald’s sparse, percussive
guitar punctuations and LeBlanc’s preference for the lower half of his kit (he helped
to pioneer the use of steady 16ths on the
kick drum), Wimbish himself assumed a
James Jamerson-like role. On track after
track, his forward-mixed bass can be heard
covering the entire frequency range while
filling the open spaces between lyrics with
a wicked assortment of slaps, pops, taps,
harmonics, and overdriven squeals—all
locked so deeply into the groove it was
often unclear what instrument or machine
was producing the sounds.
“New York, New York,” a classic Grand-
Doug Wimbish
In-Your-Face Bass
ous Five, Spoonie Gee, and the Sequence.
Working around the clock at Sugar Hill’s
two studios in Englewood, New Jersey, Wimbish, McDonald, and LeBlanc—who traveled from their home base near Hartford,
Connecticut—played on and arranged (and
often wrote, produced, and engineered) more
than 30 different artists from 1979 through
’85. The Sugar Hill house band functioned
in the same way as Motown’s legendary
Funk Brothers. “Like Motown’s musicians,”
explains Wimbish, “we were there at the
WHEN GRANDMASTER MELLE MEL
rapped the immortal phrase “The bass is in
your face,” he was referring to the imposing lines of Doug Wimbish. In 1979, Wimbish—along with guitarist Skip McDonald and drummer Keith LeBlanc—formed
the house rhythm section for the pioneering rap/hip-hop label Sugar Hill. Over the
next five years, the trio unleashed a torrent
of menacing, machine-mocking grooves
behind such artists as Melle Mel, the Sugar
Hill Gang, Grandmaster Flash & the FuriEx. 1
= apprx 100
44
7
7 7 4
6 5 4
5 7 7 5 7
7 5
5 5
5 5
Em7
1.
2.
3.
Fill space
P
T T T
T
A
B
P
P
0 0
T
T T T T
T T T T
0
0 0 0 0
0 0 0 0
T T T T
T T P T T P
T
P
0 0 0 0
3
4.
5.
6
7.
*
T T T T
T
A
B
3
3
3
0 0 0 0
Chorus
G
T T T T
0 0 0 0
T
T
5 7
5 7 9
P
7
* Backhand strum using nails.
A
Em7
P
T T T T
P
T
14 1412
14
0 0 0 0
G
12
A
3
T T T T
TPT
9
0 0 0 0
7
TPT
12
7 5 10 10 9
Em7
*
44 T
T
A
B
** T
4
T T T T
* Finger pluck
** Thumb pluck
0 0 0 0
0
T T T T T T T T
T T T P
4
6
1 3 3 3 5 5
T
T
T
12
6
1 3 3 3 5 5
4
0 0 0 0 2 3
0 1 2 2 2
“New York New York” by Melvin Glover, Sylvia Robinson, Edward Fletcher & Reggie Griffin. Transcription by Chris Jisi & Doug Wimbish.
Copyright © 1983 Sugar Hill Music Publishing. All rights reserved. Used by permission.
20
| S LAP MAST ERS BASSP L AYER .COM
THE MASTERS
duff mckagan
billy sheehan
duff mckagan
guthrie
govan
occurs in the song’s verse sections. Note
the fill space on the last three beats of bar
2. Each successive repeat of bar 2 contains
a fill that Wimbish plays during the sevenand-a-half-minute song. Of note is the slick
lick in the third ending, which lands on an
implied A7 chord, and the sextuplet slap
in the seventh ending, which was actually
flown in from an alternate take. Example 2
shows the four-bar chorus figure; bars 1 and
3 boast a cool use of tenths. The last three
beats of bar 2 function more or less to fill
space; check out the trademark Wimbish
up-and-down slide. Bar 4 features a slamming phrase-ending lick.
Summing up his Sugar Hill days, Doug
says, “Like any house band, we were underpaid in general and under-credited as writers—but I’m not bitter at all. I’m proud to
have been around at the dawn of rap and
hip-hop, and to have contributed to a music
that’s still going strong.” SM
master Flash and the Furious Five track
from 1983, showcases Wimbish’s work in
both an organic and more mechanized setting [Ex. 1]. On it, Doug plucked his Sugar
Hill workhorse: a blond ’72 maple-neck
Jazz Bass with a Badass bridge, Bartolini
pickups, and Rotosound strings. Wimbish’s
basses were always recorded direct into old
tube mike preamps at the Hill’s twin studios. The occasional effect came from the
studio’s rack gear or an early Scholz Rockman unit. (Though Doug always experimented with effects, it wasn’t until after his
Sugar Hill days that he became the effects
wizard he is today.)
“The music was written by Reggie Griffin, who laid down a bass part with his
Fender Mustang,” Wimbish explains. “I
was then given the part to make my own,
which I did by re-interpreting the phrasing
and adding the fills.” Example 1 contains
the repeated two-bar slapped phrase that
richard fortus
guns n’ roses
into the music
www.rotosound.com
21
THE MASTERS
Red Hot Chili Peppers
Flea
“Aeroplane”
“AEROPLANE,” THE SECOND TUNE
from the Red Hot Chili Peppers album One
Hot Minute [Warner Bros., 1995], features
a different Flea feel in each of its three main
sections: chorus, verse, and bass-and-drums
breakdown. To help you reach cruising altitude faster, here are a few helpful tips from
the pilot himself: “Be loose, and feel the
funk. The bass line really opens up in the
chorus, and it tightens up in the verse. Get
inside the kick drum and live there.”
Example 1 (0:49–0:59) incorporates a
standard funk pattern using thumbstyle techniques centered around octaves in G, then
tenths in Bb (both in bar 1). Approaching
C from one semi-tone above (Db) gives a
jazzy, chromatic sound at the end of bar 1.
The offbeats in bar 4 add spice; also note
all the ghosted and muted notes, which add
to the part’s percussiveness. SM
Ex. 1
© 1995 EMI Blackwood Music Inc. and Three Pounds of Love Music (BMI). All rights controlled and administered by EMI Blackwood Music Inc. All
Rights reserved. International copyright secured.
22
THE MASTERS
The Brothers Johnson
Louis Johnson
“Stomp!”
IN-YOUR-FACE-BASS AT THE TOP OF
the charts is rare indeed, yet it was a regular
occurrence during the late-’70s/early-’80s
heyday of Louis “Thunder Thumbs” Johnson. Best known to bassists as the arching,
steely bridge between slap pioneer Larry
Graham and modern-day thump kings like
Marcus Miller and Victor Wooten, Johnson—as “discovered” by Quincy Jones—
had the musical midas touch. He capped a
potent session run by playing on virtually
every track of Michael Jackson’s landmark
albums, Off the Wall and Thriller. Simultaneously, with guitarist/brother George,
he formed the Brothers Johnson, issuing
such hits as “Strawberry Letter 23,” “I’ll
Be Good to You,” and “Stomp!” The latter
was the duo’s biggest hit, reaching No. 1 on
the R&B and dance charts, and No.3 on
the pop charts. Infectious and multi-sectioned, the dance hit clocked in at 6:20 on
the Light Up the Night LP, with over two
minutes shaved off for radio. But both versions had a most pleasantly surprising centerpiece: a slap solo (although cut from 16
to 8 bars for radio).
Johnson’s “Stomp!” path actually began
on Olvera Street, in his native downtown
Los Angeles, where he was born in April
1955. At six years old, he saw and heard
a guitarron acoustic bass in the mariachi
bands that lined the famed Mexican-themed
walkway, and got hooked on the big sound.
Coming from guitar, Johnson got into slapping organically, first by plucking the bass
strings with his thumb and then “trying to
find the little clicks and pops I got when
I strummed chords on the guitar.” This led
to slapping and popping the standard way,
as well as other devices, like palm pats and
muted strums. When Louis and George got
their first big break, joining Billy Preston’s
band in 1972, Louis was told he sounded
like Larry Graham. He recalls, “I hadn’t even
heard of Larry yet, my influences were Ray
24
Brown and James Jamerson.” Quincy Jones
came upon a Johnson brothers demo a few
years later, paving the way for their 1976
album debut, Look Out for #1.
The late-1979 session for “Stomp!,” from
the fourth and best-charting Brothers Johnson album, took place at A&M Studios in
Los Angeles. Recalls Louis, “I started writing the song on bass first and then guitar
at my home studio. Next, Quincy had Rod
Temperton, George, and my wife, Valerie,
help out with some melodies and lyrics;
Jerry Hey did the horn and string arrangements.” He adds, “The song is about people
dancing and stomping and having a good
time partying. Notes Louis, “We had it in
about two takes, and I made no punches
or fixes; the funk was there as soon as
we hit it.” Johnson used a natural Music
Man StingRay (which he helped design),
and strung it with new D’Addario roundwounds. His bass recorded his bass direct
and through a miked and baffled Fender
Bassman amp.
Anchored by four-on-the-floor kick
drum, the track launches with an extended
intro based on the chorus changes. Johnson provides roots for the chord hits in the
first eight measures, and adds some rhythmic motion to the next eight. When the full
drum kit enters, Louis lets loose
with a funky, octave-switching twobar phrase that sets up—and continues as—the first verse. Johnson’s
finger plucking technique, alternating index and middle fingers, is
notable. He relates, “I used fingers
at first because Quincy, my musical mentor and teacher, taught me
when you create a song you don’t
start out at level ten and leave yourself with nowhere to go; you start
simple, build to a highpoint, and
then go back down slowly. I wanted
to tell a musical story in ‘Stomp!,’
and build up to the thumping. That’s how
I wrote ‘Land of Ladies’ and a lot of other
Brothers Johnson tracks.”
With a nudge on the board, legendary Quincy Jones engineer Bruce Swedien pumps up Johnson’s bass for his slap
solo. Generally, Johnson starts each measure with a similar rhythmic figure, varying its ending on beats three and four. Dig
his left-hand-aided triplets in bars 3 and 7,
and his walk-ups at the end of 4, 8, 12, and
16—usually with octaves or similar notes (4)
added on top. Louis addresses his basic slap
approach: “It’s all about the rhythmic counterpoint between the right and left hands.
I’ll tend to think about two or three traditional folk rhythms at once, maybe an
African-type rhythm on the one and the
downbeats, which is key in funk, then, say,
a Native American rhythm over that, and
maybe a Japanese rhythm on top [sings all
three]. It’s sort of like having a bass, mid,
and treble going on in the rhythm.”
Louis, who has been known to break
both string and speaker with his Bruce
Lee-inspired intensity on the fingerboard,
advises, “Just get into the part and really feel
it. I’ve always said, when I play, I become
the bass; I’m no longer Louis Johnson, I am
the bass—so the bass is in trouble!” SM
THE MASTERS
F C
4.
Gm7
A
3
T
T T
T T P
S
3 3
5 6
P T
3
(3)(3)
3 (3) 3
P
T
(3) (3)
T
T T
T T P
H
3 5
3 3
T T
3 (3) 3
(3)(3)
T
H
(3)
(3)
T
T T
T T P
H
3 5
3 5
T
T
H
(3)
3 (3) 3
PH
T
3 5
(3)(3)
(3) (0)1 1
3
4
T
T T
*H
T T P *
*H
*
(3)3 5 7
T
3 (3) 3 (3)(3) 6 6
T T
T T P
P
(3) (3)
3 5
3 3
T
P
T
H
T T
T T P
T
(3)
3 5
3 3
3 (3) 3 (3)(3)
T
3 (3) 3
P
T T
(3)
(3)(3)
5
(0)
T
H
T T
P T
P
T P
H
P T P T P
(0)(3) (3)
(3) (3)
(3)
3 5
3 (3) 3
(3) (3) (3) (3) (3)
* = thumb & index-finger plucks
8
T T T
Ex. 1
(3)
T
T
S*
*
*
T
*
3 3 5 7
3 5
5
5 1 1 3 5
T T
P
T
3 (3) 3
P T
(3) (3)
T
H
H
T T
P
PO
T T P
3 (3) 3
P
5 3
(3)
3 5
3 5
(3)
T
T
H
T T
T T P
T
H
(3)
3 5
3 (3) 3
(3)(3)
T T
H
3 5
(3)(3)
(5)
3 5
12
T
T T T T
T
3 (3)3 3(3) (3)
*
*
*
*
T
PO
3 3 5 7 0
1 1 3 5
T T
T T P
(3)
3 (3) 3
(3)(3)
T
H
T T
3 5
(5)
3
P
T P
PO
PO
P
5 3
3
(5)
3 0
T T
(0) 3 5
(3)(3)
T T
H
H
(0) 3 5
T
T P
T T P T
(3)
3 (3)
(3)
T
H
3 5
(3)(3)
H
3 5
T P
T
(3)
(3)
(3)
B
16
T
T T
3 (3) 3
T
(3)
P
3
*
*
*
Cm7
*
2 2
0 0 3 5
F7
5
3 3
3
3
Cm7
(0) 3
Cm7
(0) 5 (0)
F7
5
3 3
(5)
5
3
Cm7
(0) 3
Cm7
(0) 5 (0)
F7
5
3 3
5
Cm7
(0) 3
(0) 5 (0)
3
“Stomp.” Words and Music by Rod Temperton, Louis E. Johnson, George Henry Johnson and Valerie Johnson. Copyright © 1980 State Of The
Arts Music (ASCAP) and Kidada Music. Worldwide Rights for State Of The Arts Music Administered by Cherry Lane Music Publishing, Inc.
Worldwide Rights for Kidada Music Administered by Cherry River Music Co. International Copyright Secured.
25
THE MASTERS
Primus
Les
Claypool
Ostinatos
From Hell
LES CLAYPOOL’S BASS LINES TEND
to repeat in one- or two-bar phrases, with
only small variations from measure to
measure. His parts feature lots of muted,
thumbed, popped, and strummed notes,
and he favors barred fourths and root-5thoctave chords.
Example 1, from “Pudding Time” (Frizzle Fry), is a fairly simple introduction to
Claypooldom. Mute the E string with a lefthand finger or thumb, barre the top notes
with your index finger, and strum the top
two strings with your right-hand fingernails
in a quick, downward motion. For the slide,
Ex. 1
Ex. 2
All music by Primus. © 1990, 1991, 1992 Sturgeon Music (BMI). All rights reserved.
26
have your left hand moving as you slap the
string; that way, the slide will begin on an
indefinite pitch.
The 11/8 time signature of “Eleven” from
Sailing the Seas of Cheese can be very difficult to count. But in this tune, the beats are
strongly grouped in an easy-to-grasp way:
one-two-three, one-two-three, one-two-three,
one-two. (That’s why the eighth-notes are
grouped as such in the notation.) Example 2
illustrates the repeating pattern. The strums
should be done strongly, to emphasize the
beats they fall on (the “pa-pa” of the “oompa-pa” feel); the hammered notes should be
merely embellishments. For the slides, fret
the D string with your middle finger and the
G string with your ring finger.
It’s possible to play Ex. 3 from Sailing’s
“Jerry was a Race Car Driver” on a fretted 4-string by moving all the notes down
an octave, but it’s harder to execute and
doesn’t sound as good. In this line, none
of the notes is plucked—they’re all either
hammered or pulled off. The first Ab, for
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THE MASTERS
Ex. 3
Ex. 4
28
instance, is played simply by hammering the note onto the fretboard
(as are the Bb on two and the C on four). The ghost notes are produced
simply by slapping the left hand down on the strings without letting any
of the actual notes sound.
Example 4 is from “Welcome to This World,” from 1993’s Pork
Soda. It’s a fine slapping exercise, although Les refers to the song as “a
total jackoff tune.” The transcription is approximate; any of the notes
may be muted at different times, and the rhythm can be improvised for
variety. Bar 3 serves as an ending figure. The B on beat seven is not
plucked but produced as a byproduct of the D to E hammer-on. Likewise, the C on beat ten is a byproduct of the move to the 10th fret for
the popped F. To play it cleanly, keep your finger pressed firmly against
the fingerboard and don’t slide up to the 10th fret until just before you
pop the F. Hot corn! SM
THE MASTERS
Miles Davis, Luther Vandross, David Sanborn
Marcus Miller
The Man With The Golden Thumb
MARCUS MILLER’S M2 [3 DEUCES,
2001] finds the seasoned slapper doling out
everything from 32nd-notes and swung sextuplets to laid-back fretless melodies and
whole-notes on upright—all without ever
resorting to “throwaway” notes or disturbing the groove. Example 1 contains two bars
of the opening groove figure from “Power.”
“‘Power’” is built around the opening
bass lick,” says Marcus. “Someone told me
recently, ‘Whenever you play, you sound
hungry.’ I always think of that when I play
this tune because it has that hungry, New
York-rooted sound.” Note the three-finger popped chord on beat one, the double-thumbed 32nd-note figure in beat two,
and the accentuated, Larry Graham-style
slides and walk-up at the end of bar 2.
Says Marcus, “I was looking for a key that
would give me a different slap sound than
the usual E or A, and B worked out well—
especially being able to drop down for the
octave walk-ups.”
Miller’s trademark Fender Jazz Bass
is in full effect on the opening groove of
“Cousin John” [Ex. 2], where he tunes his
E string down a half-step to Eb. “That bass
line came out of jamming with [drummer]
Poogie Bell, who played an interesting
Latin/Go-Go kind of beat,” says Marcus.
“The chord changes recall what we were
doing with Miles in the mid-’80s Amandla
period. In bar 1 I play the last 16th of beats
two, three, and four on a different string than
the three preceding 16ths, so you have to
hammer them strongly with your left hand
to get the note to sound.”
Examples 3a and 3b show “Nikki’s
Groove,” also from M2. Example 3a contains the slapped breakdown melody at 0:07,
rife with expressive inflections. “I needed
a track with a bright sound and tonality to
balance all the darker-sounding material,”
offers Marcus. “The melody had been in my
head for a long time, and I figured the only
30
way to get it out was to record it and put it
in someone else’s head!” At 1:59 [Ex. 3b],
Miller turns up the rhythmic juice in his
solo. He uses a cool, descending doublethumb run in bar 1 and brisk, boardscaling double-triplets in bar 3. SM
THE MASTERS
Ex. 1
= 90
Funk
Bm7
44 T
T T T T
*
7
7
7
T
A
B
9
9 7
9 7
T
T
P
T
T
T
T
T
T P
7
9
H
9
(9) (9) 7
10 7
9 9
T
S
7
7
**
T
S
6
4
* Pull w/ thumb, index, and 2nd.
Ex. 2
P
**
T
P
7
5
** Slide from open E.
D 7sus
E m7add4
E6
A 6,9
44 = 130
E 6
Funk
T
H PO
G
D
A
E
11 13 11
T
A
B
T
H PO
H
13
T
T
H PO
6 8 6
8 6 8 6
T
H
9
6
T
T
T
T T
4
T
P
5
T
T
H
6
4 6
0
T
T
T
H
6
6
4 4
7
6
4
0
6
Ex. 3a
= 94
6,9
Cmaj7 6,9
B7sus
Dmaj7
4 4
Swing funk
Emaj7 6,9
P
T
A
B
T
P
PO
13 11 9
PO
11 9
T T
P
T
P
P
PO
S
H
12 9 11
9
9
11
T
9 7
T T
PO
9 7
T
H
10 7 9
P
P
P
PO
7
9
7 5
S
7
T
T T
PO
7 5
H
P
P
7
4
8 5 7
Ex. 3b
4 4
3
3
3
3
= 94
Emaj7 6,9
3
T
A
B
3
T T
H
11 9 11
Dmaj7 6,9
T
T
H
T T
T
T T 3
T T
9 9 11 11 9
11 9
11 9
7 8
T
T
H
5
8 9
Cmaj7 6,9
T
H
7 9
T T
H
T
T T
PO PO
P
7 9 10 10 9 7 9 7
5
B7sus
3
T
H
5 7
3
P T
H
(0)
5 7
P T
H
3
P T
H
P
T
S
P
(0)
(0)1214(0)1619 16
1214
31
THE MASTERS
Slave
Mark Adams
“Stone Jam”
BACK IN THE DAY, FEW REGIONS COULD
top the state of Ohio’s groove-a-licious contributions to the Billboard charts and DJ
stacks. Canton had the O’Jays; Cleveland,
the Dazz Band; Cincinnati claimed Bobby
Womack, the Isley Brothers, and Bootsy;
and Dayton was home to Roger Troutman
and Zapp, Lakeside, the Ohio Players, and
a stanky little ensemble called Slave.
Perhaps the most underrated of Dayton’s funk bands, Slave was in many ways
a typical late-’70s dance group, featuring a
rhythm section, a keyboard player, a horn
section, a guitarist, soulful harmonies, as
well as male and female vocalists who alter-
nated between leading and singing together.
What set Slave apart from most other dance
bands, however, were the upfront bass lines
of Mark “The Hanselor” Adams. Over the
course of five Slave albums released between
1977 and 1980, Adams perfected a distinct
approach to tone, groove, and embellishment
that has influenced legions of bass players.
If you could get just one Slave album,
make it 1980’s Stone Jam (though Rhino’s
excellent 1994 compilation Stellar Fungk:
the Best of Slave is pretty cool, too). Even
on an album packed with basstastic goodies
like “Never Get Away” and “Sizzling Hot,”
the title track to Stone Jam topped them
Ex. 1
T
H
T P T P T
H
2 (2)
2 4 (4) (4)
32
T P T P T
H
T P
T P T
(2)
4
(4)
2 4 (4) (4) 4 6 (6)
(6)
T
T
T
T
T
T
(2)
2
2 2
0 0 2 0
all. To replicate the monster F#m groove,
loosen up your slapping hand and dig in to
Ex. 1. Once you learn the basic line, try replicating Adams’ slides and timing throughout the song, and fast-forward past the epic
guitar solo to hear Adams go for broke in
the last minute of the 6:40 track.
Listening to Slave today reminds us of a
time when bass players didn’t have to also
be producers, bandleaders, composers, or
businessmen to make a living--just being a
slammin’ 4-string demon with energy, feel,
and fresh ideas seemed plenty. Mark Adams
was at the right place in the right time, and
his groove will never be forgotten. SM
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THE MASTERS
Pleasure
Nate Phillips
“Glide”
AT A TIME WHEN FUNK HAD A FIRM
foothold around the Great Lakes, where
bands like Parliament, the Ohio Players,
Slave, and Earth, Wind & Fire cranked
out industrial-strength soul, Portland, Oregon’s Pleasure was happy to blaze its own
jazzy dance trail in the Northwest. “We
were sort of isolated up there,” says bassist Nate Phillips, “so we just did our own
thing.” The group’s fusion-influenced dance
music reached its peak with “Glide,” the
Top Ten R&B single from the album Future
Now [Fantasy, 1979]. The tune sports some
of the finest bass work of the era, as Nate
drives the track with his formidable slapand-pop technique. It’s the kind of dense,
booty-shaking line every would-be funkateer wishes they had written.
Phillips grew up working the berry and
bean fields outside Portland, where AM pop
radio was his escape from the bugs, dirt,
cold, and hunger. “My brother and I would
play R&B records,” he says, “and we’d turn
them up so loud they would engulf me, man!”
By the time Nate was old enough to sneak
into clubs, he had started playing around
town. “We were doing songs by Kool &
the Gang, the Ohio Players, and Dyke &
the Blazers, but we were also influenced
by jazz and early fusion, like Herbie Hancock’s Fat Albert Rotunda, Miles Davis’s
Bitches Brew, and stuff on producer Creed
Taylor’s CTI label.”
Nate spawned the lick that became
“Glide” on a visit to his mother’s house in
Portland. “I had my Fender Jazz Bass with
me—I always took it wherever I went. I was
messing around playing 10ths, because I had
noticed guys like Chuck Rainey doing that
a lot. After about 20 minutes of working it
out, I taped it and left it alone until our next
rehearsal. When I played the line, everybody
just fell in perfectly—I didn’t have to say anything. I have to give it up to them and their
energy and enthusiasm. I’m deeply flattered
34
Nate Phillips
(upper right)
with Pleasure.
and humbled by the comments young bass
players make about the song—it blows me
away. But I didn’t do it alone.”
Glide On By
Naturally, you’ll want to loosen up before
sliding on into “Glide.” It’s a challenging line
that’ll give your thumb one helluva workout, and it’ll have your fretting hand jumping up and down the neck. Nate kicks off
the intro groove with a string of slap-andpop disco octaves, positioning his hand so
his thumb is roughly parallel to the strings
and popping with his index finger. Things
start to heat up after the ghost-note pickup
to bar 3, where Nate follows up his hipdipping hammer-on with a slide into G
and a sturdy syncopated figure. On various repeats of this intro line, Nate fills out
his line with muted ghost-notes. “I throw
those little ghost-notes in there to keep the
line moving,” he says. Nate rests for most of
bar 4, leaving room for Marlon “the Magician” McClain’s snaky guitar licks until his
authoritative pop on D. (Note: There are
a few different edits of “Glide,” including
the full 6:31 album track and a 4:24 radio
edit. The second ending at bar 12 can only
be heard on the full version.)
Continued
On the held F in the intro’s third ending,
take a deep breath—here comes the good
part! What follows is a tight little four-bar
phrase that has just about every trick in a
funk bassist’s tool kit—double-stops, slides,
hammer-ons, double-thumbing, triplets—you
name it! Nate gets a jump on the verse groove
by anticipating the one on the pickup to bar
23, where he first plucks the double-stopped
10ths with his thumb and index finger. The
upbeat chromatic slide into the C#m doublestop in bar 24 sets up that bar’s downbeats
so they have maximum impact. In bar 25,
THE MASTERS
side members of the SOS Band, Con Funk
Shun, the Gap Band, and the Bar-Kays as
part of the United We Funk All-Stars project. Most recently, Phillips has kept busy
slinging his Bossa 5-string with smooth jazz
saxophonist Richard Elliot and trumpeter
Rick Braun, and he’s currently writing and
arranging material for a solo record. Nate
continues to find inspiration in exciting
jazz and fusion players who can “go crazy,”
but he feels deeply connected to his R&B
roots. “When I hear Motown records I just
have to smile, because that’s the stuff. That’s
me. Forget soloing—there ain’t no messing
around holding it down!” SM
Nate’s bass line becomes hyperkinetic, as
he uses a double-stop slide to connect two
impossibly funky licks. Be sure to drill this
passage at moderate tempos before taking
it on at full speed—the beginning of this
line is pretty sparse, but it really picks up.
Note that in bars 26 and 30, Nate pops—
rather than slaps—the downbeats of two,
three, and four.
Future Now
Though Pleasure disbanded back in 1981,
Nate has continued to play actively, producing and playing in the Dazz Band through
the ’90s. In 2000 and 2001 he played along-
Tone Zone
“Everybody asks how I got that tone,” says
Nate. “I used my ’70 Fender Jazz, which
has a maple fingerboard with block inlays. I
remember putting a fresh set of Rotosound
roundwounds on right before doing that
take. Our engineer Phil Kaffel said, ‘Your bass
sounds so good, let’s just go straight into the
24-track.’ When we mixed it, I think he used
Keypex or a Urei compressor. They had to
fight to get the bass that high in the mix. I
thought it was too much; I love hearing other
bass players real loud, but not myself.”
Ex. 1
Cmaj7
Bm7
F7#9
Em13
= 118
T
T
T P
T P
5
(3)
0
3
P
T
T
T
5
5
P
T
T
4
3 0 2
3
2
P
T P
3
T
TH
T S
(0)
57
(0)
0
1
P T T
T
P
TH
7
5
2 3
3 3
57
3
1.
2.
T
P
T
7
5
TS
0
2 3
P T T
T
5
Bm7
Cmaj7
6
T
33
3
F13
3.
P
T T T
T T T
T
T
6
P
T
7
4
(0) 0 2 (0) 3 5
0 5
E9b13
D6/9
13
11
8
9
9
11
12
10
8
9
9
10
E/C#
P
T
6
P
T
P
5
4
3
P
T
T
T
5
5
P
T
T
4
3 0
3
2
2
1
3
E7
Esus
22
P
S
E9b13
D6/9
E/C#
T
T
7
4
0
Esus
T TH
0
4 5
T
T
S
T P T P T
12 13
11 12
0
0
0 7
4 6
5 7 5
T P
T P
P
4
H PO
6 464
0
3
E7
27
T
S
12 13
11
11 12
10
(0)
S
P
(0) 8
9
9
11
8
9
9
10
T
T
7
0
4
T TH
0
4 5
T
S
T
T P T P T
12 13
11 12
0
0
0 7
5 7 5
P
T P
4 6
4
T
P H PO T
6 4 64
0
“Glide” by Nathaniel Phillips. © 1979 Lecarna Music (ASCAP). All rights reserved. Used by permission.
35
THE MASTERS
Patrice Rushen, Herbie Hancock, Patti LaBelle
“Ready” Freddie Washington
“Forget Me Nots”
AT THE DAWN OF THE ’80S, THE FIRST
wave of Larry Graham-inspired would-be
thumbslingers receded, leaving a number
of true slap standards glistening on bassdom’s beachfront. Patrice Rushen’s “Forget
Me Nots” is one such classic.
The song was conceived and played by
veteran first-call L.A. session bassist “Ready”
Freddie Washington. Washington, who grew
up in Graham’s native Oakland, California, started on upright bass in the eighth
grade and switched to electric bass soon
after. His mentor was another great Bay
Area bassist, Paul Jackson, whom Freddie
eventually replaced in Herbie Hancock’s
Headhunters in 1977. Rushen heard Freddie while performing with the band in San
Francisco and brought him to Los Angeles
in 1978, where he embarked on a hugely
successful session career. His resumé eventually included work with Michael Jackson,
Kenny Loggins, Al Jarreau, and George Duke;
such hit tracks as Dionne Warwick’s “That’s
What Friends Are For” and Anita Baker’s
“Sweet Love”; and the bass chair for TV’s
legendary Motown 25th Anniversary Special. “I always knew what I wanted to do:
play on records,” Washington says. “I scrutinized thousands of album tracks growing
up, always thinking, How could I fit in and
bring something to this song?”
Freddie brought both his playing and
composing skills to Rushen’s first six solo
outings, which are represented beautifully on Rhino’s Haven’t You Heard: The
Best of Patrice Rushen. “Forget Me Nots”
fueled her 1982 breakout album, Straight
from the Heart, which reached No. 23 on
the pop charts and No. 4 on the R&B list.
The song exploded again in 1997 when
Will Smith sampled the chorus for his
Grammy-winning soundtrack rap, “Men
in Black.” Washington recalls the writing
process: “I was sitting on my bed at home,
jamming on my bass, when this line came
36
THE MASTERS
Example 2 illustrates Freddie’s verse part.
“I purposely kept the drum part simple,”
Freddie says of the drum pattern [Ex. 3],
“because the bass drives the track and
adds all the little subdivis ions and ‘feel’
elements. When it came to the fills, my
focus was rhythmic more than melodic. I
thought of myself as the drummer, building
up to Melvin’s cymbal crashes on beat one.”
“That bass line is the whole song,” Freddie
continues. “If I had switched to a different
line in one of the choruses or on the rideout, I wouldn’t have been playing ‘Forget
Me Nots’ anymore!” SM
line first, along with his friend’s beatbox
pattern “because it had become an integral part of the song.” Next to record was
Gap Band/LTD drummer Melvin Webb,
chosen by Washington for “a certain lope
and swing he added to dance grooves.”
Rushen followed with her keyboards and
vocals, Roy Galloway added background
vocals, and Gerald Albright contributed
an alto sax solo.
The track revolves around the eight-bar
bass hook Washingon lays down at the top
of the tune, shown in Ex. 1; the line also
functions as the bass line for the chorus.
to me. I just went where my fingers took
me, and it wrote itself into an entire song.
I made a demo at a friend’s house, playing to a little rhythm box he had. I took
it to lyricist Terry McFadden, who came
up with the poetic flower concept. From
there I brought it to Patrice, and she and I
hashed out the verse melody, chords, and
arrangement.”
On the session Freddie played his rosewood-board ’72 Fender Precision Bass with
new roundwound strings. He plugged direct
into an API console and added some dbx
160 compression. He laid down his bass
Ex. 1
G m7/C
44
= 114 Bright funk
F m7
Dmaj7
E6
C m7
F m7
Dmaj7
G m7
1
P
T
T
A
B
T
T
P
T
H
T
H
7
4
0
T
T
2
5
5 (5)
5
5
T T
T
T
S
7
7
2 4
4
P
T
T
H
2
T
T
P
T
7
4
2 4
4
T
5
5 (5)
5
T
T T T T
4
6 4 6 4 6
T
T
T
T
2 4 4
T
T
2
4
E6
C m7
F m7
Dmaj7
G m7
G m7/C
F m7
Dmaj7
5
T
A
B
Ex. 2
2
5
5 (5)
S
H
7
4
5
5
7
H
7
2 4
4
4
2 4
7
4
2
5
5
(5)
4
5
6 4 6 4 6
2 4
2
4
4
2
4
E6
F m7
B
Dmaj7
25
T
A
B
Ex. 3
hi-hat
snare
bass drum
S
7
5
5 5
(5)
5
7
7
H
H
2 4
4
4
4
2 4
2
2 4
2
2
(2)
4
2
2 4
5
(5) 4
2
+
44 Song by Patrice Rushen, Freddie Washington & Terry McFadden. Transcription by Chris Jisi & Freddie Washington.
© 1982 Baby Fingers Music, Freddie Dee Music and Yamina Music. All Rights reserved.
37
THE MASTERS
Level 42
Mark King
Bass À La King
someone like Marcus Miller or the serious
funk guys,” Mark explains. “Their playing
has this great gravity that lays the whole
thing down. I flutter around like a butterfly. It’s more like drumming—especially jazz
drumming. When I slap I’m very happy to
have a synth bass supplying the fundamentals so I can do what I’m good at doing.”
“It’s no secret that I started on drums and
always wanted to be a drummer,” Mark continues. “I still do! But fate seemed to determine I should work in the only music store
in London that didn’t sell drums. I needed
the job, though, so I would sit in the back
and pick up a bass when things were quiet.
I’d heard Stanley and Doug slapping on
records and I tried to figure out what they
were doing. In the absence of a teacher
pointing out my errors, I just approached
it like a drummer and used both hands to
build up all kinds of 16th-note-based patterns. That’s still the way I hear everything,
I haven’t pared down my playing much at
all. I’m guilty of remaining in my own comfort zone—you can’t teach an old dog new
tricks!” SM
LEVEL 42’S MARK KING STANDS SHOULder to shoulder with the all-time greats on
the slap summit. Need proof? Check out Ex.
1, a line in the style of Mark’s slapped opening on “Love Games” (from Level 42’s selftitled 1981 debut disc). Note the left-hand
pats throughout, a key in King’s machinegun style, especially on triplets, as in bar
3. Play the part slowly at first, upping the
tempo as you fit the left-hand pats squarely
into the pulse.
As for King’s influences? “Stanley Clarke,
for sure,” says Mark. “Also Larry Graham, Jaco,
Alphonso Johnson, Louis Johnson, Bootsy
Collins, Marcus Miller, who I first heard as
a teenage bassist on Lenny White’s records.
A real key guy for me, who is unsung, was
the late Doug Rauch. His playing on Santana’s Caravanserai [Columbia, 1972] and
later albums with Lenny and Billy Cobham
is it—just brilliant! I think the link between
them all is how they make their lines swing
and really lift the piece. Whether they play
frets, fretless, fingerstyle, pick, or slap, it’s
the groove, baby!”
“The way I slap is very different from
Ex. 1
Medium funk
= 106
E7
3
T T LH
(LH = Left-hand pat)
T LH T T LH T
0 0(0) 0 (0)0 0(0)(0)
38
P
T
7
7
T
H
57
T
T T
T
T
T T LH T T
H
0 0(0)
0 0 0 (0)(0) 5 7
T
TLH
H
57
TLH T T
T LHT P T
7
0 0(0)
0(0) 0 0 (0)(0)(0) (0)
T
H
57
T LH T LH
0 (0) 0 (0)
T LH T T
T
0 (0) 0 0 (0)
P
P
7
79
H
THE MASTERS
GLORIA LEVARIO
Infectious Grooves, Suicidal Tendencies, Metallica
Robert Trujillo
“Therapy”
DROP ROBERT TRUJILLO’S NAME INTO
any conversation about rock, thrash, or
metal, and you’ll evoke the now-iconic
image of the man: axe slung at knee level,
long black locks flailing wildly, his face
contorted with equal parts fierce concentration and primal joy. With his razorsharp technique and more stage presence
than De Niro, Metallica’s low-end ambassador is one of the highest-profile bassists
in music today.
By the time he was invited to join
Metallica in 2003, Trujillo (troo-HEE-yo)
was already a seasoned veteran, having
paid his musical dues with such acts as
Suicidal Tendencies, Infectious Grooves,
and Ozzy Osbourne & Black Label Society, as well as work with Jerry Cantrell of
Alice In Chains. After laying the founda-
metal with the subtleties and vibe of oldschool funk. Crucially, this format provided the perfect showcase for Trujillo’s
bass-centered compositions and serious
funk chops, exemplified by “Therapy,”
from the 1991 debut album the Plague
That Makes Your Booty Move … It’s the
Infectious Grooves [Epic].
Example 1 shows the tremendous thumb
thumps Trujillo plays to establish the tune’s
groove; Ex. 2 illustrates the two-bar throwdown he issues towards the end of the song.
While Trujillo’s current role in one of the
world’s biggest bands has already guaranteed him a permanent place in metal’s pantheon, it’s a pity that more people aren’t
aware that he’s also a bona fide, timeserved, funk-bass monster. Perhaps it’s time
to spread the word. SM
tions of his style during his teens, the California native first came to attention in the
early ’90s when he joined crossover-thrash
pioneers Suicidal Tendencies. Though the
group was already well established, Trujillo’s funk and groove sensibilities added an
extra dimension to the band’s sound that
proved pivotal in their subsequent development and success.
Initially, Infectious Grooves spun off
from Suicidal Tendencies as a way of
allowing Trujillo and vocalist Mike Muir
to plow a funkier furrow without messing with the parent band’s formula. The
project spawned four studio albums from
1991 to 2000. As the name suggests, the
band was all about getting deep inside
the pocket and making your toes twitch
by fusing the aggression and technique of
Ex. 1
Am13
Very freely
Driving funk metal
A
= 93
= 124
T
T
5
P
T
(5)
3 5
T T
H
T
H
3 5 (5) 0
5
P
H
T
(5)
3 5
T T
H
3 5 (5) 0
T
H
5
P T T
H
(5)
3 5
(5)
H
5 7
P
H
5 7
B Am7
N.C.
Am
10
H
Chorus 1
T
T
H
5
P
(5)
3 5
T
T T
H
H S
S
(13)
3 5 (5)(0) 5
14
0
5
0
7
0 0
(5)
(4)
4 5
0
(5) 5 4
0
(5) 5 5 7
(7)
0
5 4
Ex. 2
77
O
N.C.
T T PH
(7)(7) 7 9
P
T T
H
T T
T
H
(7) 7 9 (7) 5 6
T T
H
5 7 (7)
T T
H
5 6
T
H
0 5 7
(5)
T
H
4 5
T
T T T
S
(5)(5) 5
A7
S
19
A7(#11)
T
P
H
5
(5)
3 5
T
T
T T
H
3 5 (5) 0
H
H
5
3 5
P
(5)
T T
T
H
3 5 (5)(5)
“Therapy” Words and Music by Robert Trujillo & Mike Muir. All rights reserved.
39
THE MASTERS
The Commodores
Ronald LaPraed
“Brick House”
WHEN CELEBRATING THE PLEASING
nature of a particularly curvaceous physique
through song—especially when the lyrical
focus is the alteration of a profane 20thcentury slang metaphor about a sturdily constructed privy—it only makes sense to have
a bass line that is, like the subject, built like
an Amazon. That’s precisely what Commodores bassist Ronald LaPread achieved with
his vigorous part on 1977’s “Brick House.”
Ex. 1 shows the song’s chorus passage, as it
appears in the introductory vamp. LaPread
40
constructs a robust two-bar ostinato that is,
at the beginning of the first bar, like many
archetypal funk bass parts, “on the one.”
Then, the syncopated motif in the bar’s
latter half leads into the second part of the
phrase, which, true to form, ain’t holdin’
nothin’ back. Together, this juxtaposition of
a stacked-and-that’s-a-fact first bar and the
mighty, mighty second bar produces a swinging feel, perhaps evocative of the entrancing harmonic motion of a pronounced hipswinging gait. Beat four of these even bars is
left open to variation; in bar 4 it’s a suggestive slide up the G string. LaPread’s careful
attention to note length—Ex. 1’s staccatos—
is carried over to the tenutos and clipped
16th-notes in the verse part, demonstrated
in Ex. 2. There, the rhythmic tension finds
partial release with the fills at the end of
bars 2 and 4. Ex. 3 shows LaPread’s line on
the bridge, where his staccato octaves and
16th-note pull-off figures serve to complement the lyric, as they too shake-it-downa-shake-it-down-down. SM
GARY GERSHOFF/RETNA LTD.
Bringing down the house! The Commodores perform in New York City in 1981.
THE MASTERS
Ex. 1
= 102
T
T
T
T
T
T H
T
T
5 7 (5)
3 5
5
T
3
4
5
T
T
T
TS
5 5 7
T
H
T
5 7
3
T
T
T
H
T
5 7
3 5
5
T
3
4
T
TS
T
3 5 5 7
5
S
(5) (12)
3
5
T
T
T
T
5 7
3 5
5
H
3
4
5
T
T
3 5
TS
T
5 7
3
P
T
T
T
T
3
4
T
5 4
T
T
7 5
4
5
1.
T
T
T
T
T
T
T
0
5
5 5
5
5
5 5
T
T
T
T
T
T
T
T
T
T
T T
0 3 0
5
5 5
5
5
5 5
5
0 3 0
T T
T
2.
T
T
T
T
T
T
T
5
2
2
3
3
4
4
Ex. 3
1.
T
T
T
T
5 5
5
5
P PO
5
3 5
5
Ex. 2
5
T
T
T
5
T
5
5
T PO PO
T
T
5 4 2
T
T PO PO
5 5 4 2
5
5
T PO PO
3 2 0
T
T
T
T
5 5
5
5
T
5
TPOPO
T
T
5 4 2
T
5
5
T PO PO
5 4 2
T PO PO
5 4 2
5
2.
T
T
T
5
5
T PO PO
T PO PO
5 4 0
5 4 2
5
“Brick House” by Lionel Richie, Ronald LaPread, Walter Orange, Milan Williams, Thomas McClary, and William King. © 1977 (renewed 2005) Jobete
Music Co., Inc., Libren Music, Cambrae Music, Walter Orange Music, Old Fashion Publishing, Macawrite Music, and Hanna Music. All rights controlled
and administerd by EMI April Music Inc. All rights reserved. International copyright secured.
41
THE MASTERS
Bela Fleck & the Flecktones
Victor Wooten
The Open Hammer Pluck
Part One
explore this technique over two lessons, and
I hope you’ll then be able to explore the endless musical possibilities available with this
approach. (You may also want to check out
Abraham Laboriel and Brian Bromberg to
see how they use open hammer plucking.)
I will explain this with the assumption you
are a right-handed player; if not, make the
necessary adjustments.
“Open hammer plucking” refers to hitting an open string with your right thumb,
Many times people come up to me after a
show and tell me that when I’m doing a
thumb technique, they hear a lot of notes
but don’t see a lot of motion. That’s because
I have spent many hours figuring out ways
to get the most out of each movement. This
is what Bruce Lee and many others have
called economy of motion. In this issue I’ll
explain one of my techniques that utilizes
this concept: the “open hammer pluck.” We’ll
Ex. 1a
3
3
3
3
3
3
3
3
44
Fret:
T LH P
T LH P
T LH P
T LH P
0
0
0
0
3
0
3
0
3
0
3
etc.
0
Ex. 1b
4
4 Fret:
T LH P T LH P
T LH P T LH P T LH P
0
0
3
0
0
3
0
3
0
0
3
0
0
3
etc.
0
3
4
4
3
3
3
Ex. 2
3
3
3
3
Fret:
T LH P
T LH P T LH P
T LH P
T LH P
T LH P
T LH P
T LH P
0
0
0
0
0
0
0
5
0
7
0
0
4
0
5
0
7
0
4
0
6
0
7
0
44 3
3
3
3
Ex. 3a
3
3
Fret:
3
3
T LH P
T LH P
T LH P
T LH P
T LH P
T LH P
T LH P
T LH P
5
5
5
5
5
5
5
5
7
5
7
7
7
5
7
7
7
5
7
7
7
5
7
7
hammering a note with your left hand, and
then plucking a note with your right index
finger. It’s essentially a triplet. Ex. 1a shows
the basic pattern; Ex. 1b shows an alternate rhythm.
The basic O.H.P. technique is only the
beginning—a reference point, to keep our
thinking simple, rather than a set rule. The
actual pattern may get more complex: as
you can see in Ex. 2, the hammered note
can be changed to play any note you wish.
Ex. 2 uses the A major scale, but try this
technique with a pentatonic scale or a blues
scale, or with any of your favorite patterns.
You can even turn a walking bass line into
triplets with this technique. It’s a little “too
much” for many situations, but … oh, well.
(If you are trying to lose your gig, this is a
great way!)
Examples 3a and 3b show that the “open”
string doesn’t necessarily have to be open.
And if you want, the hammered note can
be two hammers, or you can pluck as may
times as you like. So you see, the pattern
can change as we move along. Although you
may be playing quadruplets or quintuplets
with open hammer plucking, it may help
you to think of them as the basic O.H.P. If
you are always thinking of the basic pattern,
it will be easier to change the patterns and
rhythms you play.
Take these patterns, alter them, rip them
up, and turn them inside out. Practice them
in all the keys, at different tempos, and using
different dynamics. But please remember to
keep it musical. The Music Police will be
watching, and I don’t want them coming
after me!
One last thing: All of the notes in these
patterns can be changed to protect the
44 Ex. 3b
Fret:
42
T LH P T LH P
T LH P T LH P T LH P
5
5
7
5
5
7
7
7
5
5
7
7
5
7
5
etc.
THE MASTERS
innocent. (Wait, I’m sorry—too much TV.)
I mean, the notes can be changed to suit
your taste or to follow the chord changes
of any particular song. Next, we’ll explore
this concept a little more. Okay? Okay!
Peace, Vic.
Part Two
Let’s continue from my last column with
more open hammer plucking. I hope you’ve
gotten a little more comfortable with the
O.H.P. technique. This time, we’ll take a
look at some more musical ways to use
open hammer plucking by applying it to
different chords.
In Ex. 4, the O.H.P. is used over a B
minor chord; in Ex. 5, it’s used over C
diminished. Example 6 shows how to use
this technique to outline any chord—try it.
Don’t worry about the open strings not
being in the key in which you’re playing;
as it’s all going by, people probably won’t
notice them unless you emphasize the
pitches of the open strings. Usually it’s the
hammered notes that define the melody of
what you’re playing. The open strings just
add to the rhythm.
Example 7 is a variation on an example
from my last column. It’s the same pattern
with an additional pluck.
The possibilities are endless with open
hammer plucking, so I won’t waste your
time exploring too many of them. Try out
these examples, explore on your own, and
have fun!
Peace, Vic. SM
44 Ex. 4
Fret:
T LH P T LH P T LH P T LH P
T LH P etc.
0
0
7
7 0
9 9 0
7
7
0 9
9
7
7
4
4 Ex. 5
3
3
Fret:
3
3
3
3
3
3
0
0
3
2 0
4
2 0
6
5
0 7
5
9
8
0 10
8 0 12 11 0 13 11
F 7
Bm7
E7
44 Ex. 6 Cm7
3
Fret:
3
3
3
3
3
3
3
0
0
9
9
0
9
9 0
Am7
9
9
0 8
9
D7
7
7
0
7
7
0 7
Gm7
7
0 6
7
C7
3
3
3
3
3
3
3
3
T LH P1 P2 T LH P1 P2 T LH P1 P2 T LH P1 P2
0
0
5
5
0
5 5
0
5
5 0
4
5
3
3
0
3
3
0
3
4 4 Ex. 7
3 0
2
Fret:
5
7
5
5
5 7
7
7
5
7
5
5
5
7
7
7
3
43
THE MASTERS
Return To Forever, Animal Logic, Vertú
Stanley Clarke
Vertú-al Insanity
KEN CHEONG
Stenley Clarke (left)
with Marcus Milelr and
Victor Wooten.
IT’S ONLY BEEN A FEW (DOZEN) YEARS
since Stanley Clarke funked up our fusion
with School Days [Epic, 1976], but the
doubling, thumbing wonder has continued to put his best funk forward ever since.
Example 1 is the opening bass part of “The
Call,” a nasty 5/4 thumb-style groove from
1999’s Vertú [Sony, 1999] that sounds and
feels surprisingly natural. The ghost-note
triplet is a kind of percussive placeholder
in four,” says Stanley. “I used Armand SabalLecco’s killer late-’60s Jazz Bass. Lenny is
actually the first person I saw slap a bass.
I asked him what was that weird Spanish
guitar stuff he was doing, and he explained
it was inspired by Larry Graham. I took the
bass from him and tried it. Later I heard the
Graham Central Station song ‘Hair,’ and
that clarified everything.” SM
to help the groove stay in the pocket. The
fill in bar 4 ends on the next bar’s downbeat, so keep the groove going—just use
the higher F as your first note. (It’s written
out here for 5-string bass, although for the
recording Stanley played it on a 4-string
detuned to Eb.)
“‘The Call’” is [drummer] Lenny White’s
tune, and what made it more challenging
was he wanted us to make it feel like funk
3
3
3 54
T
T
A
B
6
44
T
4
3
P T P T T
T
(0) (0)
(0) (0)
4
6
T
4
3
P T P T T
T
(0) (0)
(0) (0)
T
3
P
T
T
T
6
4
P
H
(0)
4
P
H PO
8 10 6 8 6
4
4
6
4
8
4
WOODSHED
Bottom Line Bass by Alex Sklarevski
SLAP FUNDAMENTALS
(PART ONE)
I’D LIKE TO TAKE THIS OPPORTUNITY
to go “back to basics” and cover some of
the fundamentals of playing slap bass. I’ll
present this material over the course of several columns, starting at the very beginning,
but I’ll also try to keep things interesting for
those of you who already have some experience with slap. (It might be a good time
for a little review, anyway.) Some of the
examples are taken from my instructional
video, The Slap Bass Program; I’m including them not only because they sound cool
but because they’ll help me to demonstrate
certain points.
The are two technical building blocks for
playing slap bass. Think of them as sort of
an action/reaction concept: the slap, done
with the thumb, and the pop (or pluck), done
usually with the index finger. For now, don’t
worry about your left hand—let’s just concentrate on right-hand positioning. Place
your right arm so your forearm and wrist
are parallel to the strings (see Fig. 1); this
may mean you have to bring your elbow
down somewhat closer to the bridge. If
you’re standing up, your strap needs to be
set so this position is possible; if your bass
is too low, you won’t be able to get your
arm parallel to the strings.
While muting the A, D, and G strings,
strike the E string with your thumb right
about where the neck meets the body, or
Ex. 1
Ex. 2
Ex. 3
Ex. 4
46
Fig. 1
over the last fret. If you make good contact, the thumb will cause the string to hit
the frets, producing that bright,
metallic “zing” we want to hear.
Don’t press down on the string
with your thumb; let it bounce
off. Also, don’t just brush the
string—you have to actually hit it. (Before
I get mail: There are many variations of
this technique, and as you get used to it
I’m sure you’ll find one that works best for
you.) As shown in Ex. 1, try playing each of
the strings a few times to get a feel for this
motion. You’ll notice it’s harder to be accurate on the thinner strings—so play slowly,
and watch your hand.
If the slap is the “action,” the pop is the
“reaction.” Use about the last half-inch of
the tip of your index finger to pull the G
string away from the bass, and then release
it. Don’t yank the string too hard—just let
the natural string tension pull it off your
fingertip so it snaps down onto the neck.
If you’ve kept the same hand position you
had earlier, you’ll see that your index finger
is pretty much in line with where the neck
and body meet; in this area, the string tension is not too loose or too tight. Pluck the
D and G strings a few times to get a feel for
this motion. Once you’ve done that, practice
muting the string immediately after popping
it; this produces the staccato sound usually
associated with popping.
The fundamental exercise to practice
the thumb/pluck motion involves playing octaves; play them using string pairs:
E and D, and A and G (see Ex. 2). These
are the string combinations you would normally use to play octave patterns. Listen
carefully to the sound, and try to strike a
balance between the volume of the thumb
slap and the pluck. Neither one should be
louder than the other. If your hand starts
to hurt, take it easy. Build up slowly to the
point where Ex. 2 is comfortable to play,
and then try some different rhythms (Ex.
3 through Ex. 5). We’ll continue with this
technique next time. SM
Ex. 5
SLAP FUNDAMENTALS
(PART TWO)
IN OUR LAST INSTALLMENT, WE LOOKED
at the thumb/pluck combination and the
starting points for developing good slapping technique. This month, I’ll present 12
one-bar bass lines in the key of E for you to
learn. When you can play several of these
examples, try combining them to create twoor four-bar bass lines. When you practice,
I’d suggest that you loop each example several times until it really feels comfortable.
Your goal shouldn’t be to play them fast—
instead, strive to be as accurate as possible.
Ex. 1, a very standard slap line, is a good
starting point. Begin with open E, and then
play the C# and D on the A string. Note
the staccato mark over the D; it means
you should play the note short. Play the
two 16th-notes on the and of beat four as
a hammer-on. (The hammer-ons are all
indicated with a slur marking and the letter
“H.”) Ex. 2 is a variation, with four 16thnotes on beat four. Ex. 3 is another variation, but in this case we play muted D’s for
the first two 16ths of beat four. In Ex. 4,
we use the two-16ths/eighth combination
we worked on last time on beat two. Ex. 5
is the same as Ex. 4, except we use muted
notes on beats two and four.
Ex. 6 should be played with the thumb
only. Slide up the open E string to the B at
the 7th fret, and play the D on the A string
without shifting. Ex. 7 through Ex. 12 are
all variations on Ex. 6; in every case, you
should slide up to the 7th fret and continue
the line in that position, as it’s the easiest
place to play the phrase smoothly.
Remember: Be sure to articulate every
note; don’t gloss over any of them. You want
to hear muted notes and pitched notes with
the same intensity and attack. Slap on! SM
Ex. 1
Ex. 7
Ex. 2
Ex. 8
Ex. 3
Ex. 9
Ex. 4
Ex. 10
Ex. 5
Ex. 11
Ex. 6
Ex. 12
47
WOODSHED
SLAP PATTERNS IN
THE KEY OF G
WE’VE SPENT THE LAST FEW COLUMNS
looking at bass lines in the key of E. The
great thing about playing in E (on a 4-string,
anyway) is that you don’t have to worry
about unintentionally hitting the string
below it with your thumb. Unfortunately—
or fortunately, depending on how you look
at it—not all tunes are written in E, so you’ll
sometimes find yourself having to slap in
keys where the lowest note is not an open
string. This month, let’s take a look at several bass lines in another common key, G.
Ex. 1 is a two-bar phrase that can be
played without any position shifts. Start with
G on the E string; the hammer-ons are indi-
cated by slur markings. The first two 16thnotes on beat four of bar 2 can be played
as a thumb/pluck on the muted G string,
or you can mute the D string, thumb the
first ghost note there, and then pluck the
second one on the G string. Ex. 2 is a variation on Ex. 1; be sure to place the F on
the last 16th of beat one.
Ex. 3 is a four-bar bass line incorporating
the eighth-note octave pattern we looked
at in July ’96. The articulations are written
in; try playing the octaves in bar 4 using
legato (long) and staccato (short) notes.
Start the last bar on F on the A string, and
play the octaves on the G string. Be sure to
Ex. 1
Ex. 2
Ex. 3
Ex. 4
48
keep the sound of the thumbed and plucked
notes balanced.
In bar 1 of Ex. 4, play beat four using
the muted D string for the ghost notes. Play
the Bb on the G string; this can be a little
tricky, so be sure you hear both the ghost
notes and the pitches. In bar 4, play the
octave patterns with both legato and staccato articulations. Here again we’re using
the standard two-16th/eighth-note rhythmic
pattern. Notice how bar 4 is a close variation of bar 4 in Ex. 3; this kind of rhythmic
interpretation can help a bass line to evolve
without adding more notes. SM
WOODSHED
Slap Basics by Jonathan Herrera
THUMB PLACEMENT
I’M NOT SURE ANOTHER INSTRUMENT
can boast of something as controversial as
our very own slap-and-pop. Maybe serious
flautists kvetch about those who occasionally “pull a Tull,” but it seems like slap bass,
from shrill and annoying to jaw-droppingly
funky, is among the biggest polarizers. To
Fig. 1
Fig. 2
draw a comparison to another contentious
craft, slap is the special-effect-driven blockbuster movie of the bass world, while the
other bass techniques range from screwball
romantic comedy to a nuanced art-house
mope-fest. Like a CGI-laden blockbuster, slap
bass can be really cool, propelling a piece
forward like nothing else, but sometimes it
can be an eardrum-piercing bore. As beginners, we are inexorably drawn to it, often
inspired by slappy mavericks like Flea and
Les Claypool—but we can quickly go astray,
losing sight of our primary bass responsibilities. So before learning how to slap, heed my
warning ... don’t forget the groove!
Thanks to Larry Graham, slap arrived in
the late ’60s, and just like every other technique for our young instrument, there isn’t
a consensus on the ultimate approach. The
basic technique usually combines a wristtwisting thumb slap with an index- or middle-finger pop. But the angle of the thumb to
the string, and the use (or disuse) or pops,
vary a lot. Some folks prefer to slap with
their thumb at a downward angle and their
wrist roughly parallel to the neck (Fig. 1).
They use their forearm’s back-and-forth rotation for the bulk of the slap energy, usually
resulting in an aggressive tone and, because
of the positioning of the index finger, a lot
of popped notes. This technique is used to
great effect by a lot of bassists—but in my
oh-so-humble opinion, it’s not ideal. Though
beginners seem to gravitate toward this
approach without guidance, its limitations
don’t allow the player to take full advantage of the whole groovy slap world.
I prefer the slap technique of players
like Marcus Miller and Larry Graham,
which is based on a thumb that’s parallel
to the string (Fig. 2). Though this approach
requires the bass to be higher on a strap, its
benefits are numerous. It results in a fuller,
fatter thumb tone, perhaps because there’s
more flesh hitting the string. It also seems
to make the thumb more dominant, rather
than the see-saw slap-then-pop motion of
the other approach. This means that brash
pops are available, but not an essential product of the physical technique. The parallelthumb technique is also more controllable,
allowing for advanced techniques like Victor
Wooten-style double thumbing and cool
syncopated ghost-notes and funk patterns.
For now, look at the photos and see
where your burgeoning slap technique
stacks up. If you find yourself drawn to the
first approach, don’t sweat it! We’ll apply
the slap technique to some cool beginner
lines in a future installment. SM
49
WOODSHED
The Language of Music by Glenn Letsch
SLAPPING:
AN INTRODUCTION
EVERY BEGINNING BASSIST WANTS TO
learn to slap and pop. It sounds great and
looks impressive, and I bet you’ve said to
yourself, “I want to be able to do that!” But
just slapping the right string can be frustrating, let alone getting a good sound. Slapping
Ex. 1
T
A
B
T
T
T
T
0
0
0
0
Ex. 2
of you. Curl your fingers a bit and point
your thumb up (to the 12 o’clock position). Keep your hand loose; don’t stiffen
up. Now rotate your thumb to 9 o’clock.
Watch closely: Your elbow should be the
only joint that moves.
Hit the E string near the end of the neck;
think of a thumb karate chop. The force
isn’t going to break a board in half (and it
shouldn’t)—but it will give you the classic
slap sound that may be evading you. The
idea is to provide enough downward force
so that the string strikes the frets; this creates that bright, zingy sound. When you hit
the string, let your thumb bounce off so the
note actually sounds. Keep your fretting
hand resting against the three other strings
so they stay quiet; whichever string you are
slapping, all the others must remain silent,
or else it will be an exercise in futility. Most
important: Keep your slapping hand loose.
The following exercises
are strictly for the thumb—no
popping, please! Let’s get the
thumb right before anything
T
T
T
T
else. Play Ex. 1 and make sure
you’re getting a big, round
sound. Next, try Ex. 2. Keep
your quarter-notes steady and
4
4
4
4
even. Ex. 3 is an eighth-note
groove with a little more syncopation. Remember to keep
your hand loose. Ex. 4 consists
of steady eighth-notes. Make
sure your sound is consistent
T T
T T
from note to note.
Your slapping should eventually feel as natural as your
5 5
3 3
fingerstyle technique, but you’ll
have to practice this a lot just
to get your sound right. Then
practice being accurate with
the metronome. Be patient
and work through these exerT T T T T T T T
cises slowly—it will all pay off
big time. SM
isn’t that hard to do, though, so let’s dive in.
Before you do anything else, put on a
brand new set of roundwound strings. If
you try to slap on tired old strings, you
won’t get a great sound. You will wonder
what you are doing wrong, even if you are
doing everything right.
As for hand position, forget everything
else you’ve heard and think “hitchhiking.”
Put your hand and arm straight out in front
= 72
4
4 T
A
B
T
T
T
T
T
T
T
T
T
T
T
T
0
0
0
0
2
2
2
2
3
3
3
3
Ex. 3
4
4 T
T
A
B
T
T
0 0
T
T
3 3
T
T
5 5
T
T
3 3
T
T
0 0
T
3 3
Ex. 4
4
4 T
T
A
B
50
T
T
T
T
T
T
T
0 0 0 0 2 2 2 2
T
T
T
T
T
T
T
T
4 4 4 4 2 2 2 2
T
T
T
T
T
T
T
T
0 0 0 0 2 2 2 2
4 4 4 4 2 2 2 2
WOODSHED
MUTING
LAST TIME WE BEGAN DISCUSSING
basic slap technique and getting a good
sound. Achieving the right tone is one
thing, but getting control is another. It will
take a lot of practice. Work on this technique with your amp off; it will keep you
on better terms with anyone you live with.
When I was first learning to slap, my wife
would ask me to go into the other room.
I must have sounded lame trying to funk
out before I had thumb technique down.
It can take anywhere from six days to six
months before you start to sound like a
funk machine, so be patient. Yes, you will
get frustrated, because it’s a new thing for
your hand to do. Just persevere—you will
reach your goal.
Once you have a good, solid tone, the
next step is to learn muting to add some feel
to your slapping. You must learn to control
the length of your notes by muting. If you can
stop the string from ringing uncontrollably,
your slapping will start to feel percussive.
For starters, mute with the fretting hand.
Keep your fingers in what I call the “bunch
of bananas” position—gently curved so your
fingertips are coming straight down on the
fretboard—and play staccato (short) quarternotes (Ex. 1): Slap your open E, and then
bring down your fretting-hand fingers and
rest them against the string to stop the ringing. Don’t push down on the string, as you
might actually fret a new note. It’s okay if
your fingers touch the other strings; they
are probably ringing a little sympathetically
anyway. If you slap on the downbeat and
mute on the upbeat, each staccato quarter-note will sound like an eighth-note. Be
sure to mute the E string before you hit the
A string. Ex. 2 will help you master this.
When playing fretted notes (Ex. 3),
release the string from the fret but do not
release your fingers from the string; otherwise it will ring uncontrollably. Ex. 4 mixes
up staccato and non-staccato notes. Be sure
you’re properly muting all of the staccato
notes while letting the others ring for their
full value. SM
Ex. 1
4
4 0
0
0
0
T
A
B
T
T
T
T
0
0
0
0
T
T
T
T
Ex. 2
4
4 T
T
A
B
0
T
0
T
T
0
0
Ex. 3
4
4 T
A
B
T
T
0
2
T
T
3
4
T
T
T
T
0
2
3
4
Ex. 4
4
4 T
A
B
T
T
T
T
T
T
3
3
3
0
1
2
51
WOODSHED
GHOSTING & MUTING
IN MY PREVIOUS TWO WOODSHEDS I
have been discussing basic slap technique.
To review: Hold your right hand in “hitchhiking” position, with your thumb out and
your hand relaxed. Strike down on the string
with the side of your thumb like a karate
chop. The elbow joint moves—nothing else.
Muting with the fretting hand makes your
slapping sound more percussive.
Let’s move forward and address ghost
notes. Ghost notes are effective in fingerstyle funk and many other styles—but they’re
especially effective in slap bass. In fact, they
may be even more important in slapping,
because the ghost notes allow your slapping
hand to continue to motor through the pulse
of the groove. Just as a solid pickstyle bassist
(or rhythm guitarist) keeps his or her right
hand moving like a metronome, so does
the slapping bassist. The steady pendulum
effect of your thumb stabilizes the groove
and keeps you in time. Plus, ghosting lets
you play all sorts of percussive notes that
seem to come from out of nowhere, making
you part drummer, part bassist.
Let’s try some examples. Remember the
“bunch of bananas” fretting-hand position:
If you mute the strings with more than one
fretting-hand finger, you will avoid ringing
open strings and overtones, which undermine your ghosts. The more fingers you
use to mute, the more percussive the ghost
notes sound. As for the slapping hand,
while you’re muting with the other hand,
continue slapping as if you were going for
a “real” note. Together, both hands create
the ghost-note sound.
Practice these examples in sequence; each
is slightly more demanding than the previous
one. Examples 5 and 6 are actual useable
grooves that you should be able to embellish
upon once you have mastered them. Experiment and try some of your own ideas based
on this method. But always, always strive
for that Larry Graham funk-attack snap—
punchy notes, with super-quiet unplayed
strings. That just might be the toughest part,
so make sure you’re up to it! BP
52
Ex. 1
4
4 T
A
B
T
T
T
T
T
T
T
T
3
3
3
3
(3)
(3)
(3)
(3)
Ex. 2
4
4 T
A
B
T
T
T
T
T
T
T
T
3
3
3
3
3
3
3
3
T
T
T
T
T
T
T
T
(3) (3) (3) (3) (3) (3) (3) (3)
Ex. 3
4
4 T
A
B
T
T
T
T
T
T
T
T
3
(3)
3
(3)
3
(3)
3
(3)
Ex. 4
4
4 T
T
A
B
T
T
T
T
T
T
T
3 (3) 3 (3) 3 (3) 3 (3)
T
3
T
T
T
T
T
T
(3) 3 (3) 3 (3) 3
T
(3)
Ex. 5
4
4 T
A
B
T
T
0
3
T
T
T
T
T
T
(3) 3
5
3
0
3
T
T
T
T
(3) 3
5
(5)
Ex. 6
4
4 T
A
B
T
3
T
5
T
(5)
T
T
T
3
5
3
T
T
3
5
T
T
T
T
(5) 3
5
(5)
WOODSHED
POPPING
there are occasional exceptions.
Extend your right hand, palm down,
and dangle your middle finger away from
your other fingers. This will be the finger
you pop with. If you are more comfortable
using your index finger, use it; the decision is up to you. (I prefer my middle finger
because it is longer.) Using your finger like
a pick upstroke, try gently “picking” the
open G string with the finger’s left corner
edge. Try not to snag your finger under the
string; instead, nick the string with the finger’s edge. You will hear when it starts to
sound right. If you do this too hard, your
pops will be too loud and you could develop
LET’S INCORPORATE FINGER POPPING—
snapping a string with one of your fingers—
into your repertoire. Popping is slapping’s
other half. You should consider it the “the
second half,” because you should master
thumb technique first. If you try to master
both techniques at once, your learning curve
will be steeper.
Making an analogy between drumming
and slap-and-pop technique, think of your
thumb as a kick drum and your finger as a
snare. The kick and snare rarely play simultaneously; rather, the two drums “talk” and
react to each other. Typically we pop the D
and G strings and slap the E and A, though
44 Ex. 1
T
A
B
T
P
T
P
7
7
5
5
T
P
T
P
5
5
3
3
Ex. 2
44
T
A
B
T
P
T
P
7
7
5
5
T
P
T
P
5
5
3
a blood blister on your finger. You want to
develop a callous instead. If you nick the
string rather than snag it, the volume will be
more in balance with your thumped note—
although understand that popping by nature
is louder than thumping.
In terms of movement, slapping and popping can be a very efficient way to play: For
every thumped note, you can get a popped
note simply by recocking for the next thump.
In this way it is similar to picking. This
image works for me: Think of your hand
holding a gigantic, invisible pick between
your thumb and finger.
Let’s try some examples. It’s always easier
to pop the G string than the D, so let’s start
there. It is best to practice octaves to get
this down (Ex. 1). For best sound, don’t
let the thumped note sustain through the
popped octave.
The D string requires more finesse to pop
(Ex. 2); be careful not to hit the G. If your
popping finger doesn’t easily fit between
the D and G strings, consider widening the
string spacing just a bit so your fingers can
fit more easily. (If you aren’t sure how to do
this, get someone to help you.) Ex. 3 speeds
things up a little on the G string, and Ex. 4
does the same on the D. BP
3
44 Ex. 3
T
P
T
P
T
P
T
P
T
P
T
P
T
P
T
P
Ex. 4
44
T
T
P
T
P
T
P
T
P
T
P
T
P
T
P
P
53
WOODSHED
PUTTING IT ALL TOGETHER
little detail. The grooves become automatic—
and that frees up your mind just to relax
and let the groove be greasy. Also, once you
are relaxed and confident with your technique, you can get playful. You can change
a note here and there as long as it doesn’t
fight the groove. From there, you can start
writing some of your own licks.
These examples have everything you
need to be sure your execution is correct:
notation, tablature, slap and pop symbols
IT’S TIME TO EXPAND YOUR SLAPPING
and popping into actual grooves that sound
cool. If you’ve taken the time to work through
each of my previous slapping Woodsheds,
you are ready for the next step: developing
a big, fat slap-and-pop sound.
As you begin to master slap technique,
an amazing thing may happen: You start
to get past thinking your way through each
groove. Magically, the parts start to “play
themselves,” as you stop thinking about every
Ex. 1
4
4 T
A
B
T
T
T
T
T
T
T
T
T
T
T
T
T
T
1
&
2
&
3
&
4
& a
1
&
2
&
3
& a 4
& a
5 7
4 5
0
(0) 0
(0) 0
(0) (0)
4 5
0
(0) 0
(0) 0
T
T
(0)
4
4 Ex. 2
T
A
B
T
2
T
1
0
T
T
& a 3
5 7 (5)
(0)
T
T
& a 4
5 7
T
& a
T
1
P
&
T
2
T
3
6
(5) 5 7
4
0
P
&
P
&
T
4
7
5
8
6
Ex. 3
4
4 T
A
B
T
T
T
T
T
T
T P T
T
T
T
T
T
T
T P
1
&
2 e &
3
& a 4 e &
1
&
2 e &
3
&
4 e &
3
(3) 5 6 (6) (6)
3 5 (5)
3
5
3
(3) 5 6 (6) (6) (6) (6)
3 5
Ex. 4
44
T
A
B
54
T
1
T
&
T P T
2 e &
T
3
T
4
7
5
5
(5)
P
& a
T
1
T
&
T P T
2 e &
5 7
5
5
(5)
T
3
7
5
5
(5)
5
5
T
P
4 e & a
5 7
5 7
for each note, and ghost-notes to help keep
you locked in the pocket. I’ve also subdivided each measure. It should be clear
exactly where each note occurs in time
based on the standard 16th-note subdivisions of beats: one-e-and-a, two-e-and-a,
three-e-and-a, four-e-and-a. Remember:
When playing all ghost-notes you should
have two, three, or four fretting-hand fingers resting on the string while striking the
ghost note; otherwise, you’ll get uncontrolled
harmonics, which will weaken your sound.
This is critical!
In Ex. 1, ghost-notes act as groove maintainers. Don’t let your right hand stop
moving through each beat. Next, dig Ex. 2’s
octaves. In Ex. 3, keep time by ghosting the
upbeat eighth-notes (marked “&”). It will
lock you in the pocket. Finally, try Ex. 4.
Keep your right hand “motoring” through
the groove. BP
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© 2011 FMIC. Fender®, Make History™, Precision Bass®, P Bass® and the distinctive headstock design commonly found on these guitars are trademarks of Fender Musical Instruments Corporation. All rights reserved.
TRANSCRIPTION
DAVID SANBORN’S “HIDEAWAY”
Neil Jason’s Complete Bass Line
BROOKLYN-BORN NEIL JASON’S 12-YEAR
turn as a first-call New York session bassist
coincided with the profession’s peak period
for “players”—a time when the studio inner
circle was equally adept at jingles and jazzrock fusion sides. Jason was discovered by
the Brecker Brothers on his first major date
(for Gladys Knight), who promptly enlisted
him for their band in 1978. Albums with John
McLaughlin and Bob James followed before
Jason began permeating the pop charts via
platters by Kiss, John Lennon, Paul McCartney, and Billy Joel, and No. 1 hits ranging
from “Fame” to “Girls Just Wanna Have
Fun.” Jason recalls, “Until I got my own
place, I lived with both Randy and Michael
Brecker, and to see the commitment level of
56
BY CHRIS JISI
these two icons, practicing six hours a day,
was the ultimate musical education for me;
I realized I had to work twice as hard just
to be in their orbit. Ultimately, what was
most rewarding was it gave me a whole new
insight and understanding when I went back
to playing pop and rock.”
Among Jason’s woodshed-earned, watershed skills was his slap style—gritty in tone
and groove, yet so precise that engineers
could forego a compressor to even out his
thumps and pops. That sound would reach
the radio on Diana Ross’s 1981 chart-topping cover of “Why Do Fools Fall in Love.”
However, one of Jason’s fiercest fingerboard
forays can be found on saxophonist David
Sanborn’s 1979 instrumental hit “Hideaway.”
Sanborn was less than a year away from the
first of his memorable collaborations with
Marcus Miller (including a more-uptempo
revisit of “Hideaway” on the saxist’s 1984
disc, Straight to the Heart), but Hideaway
and its catchy title track remain the favorite of many a Sanborn fan.
The session for “Hideaway” took place
in early 1979, at Minot Sound, in White
Plains, New York. The band—Sanborn,
Jason, drummer Steve Gadd, keyboardist
Don Grolnick, and percussionist Ralph MacDonald—tracked live, with additional sax,
keyboard, and percussion overdubs added
later. Neil played his trademark red 1965
L-Series Fender Jazz Bass with new Rotosound strings, and the secret ingredient to
many a Jason track: an Ibanez CS-9 Stereo
Chorus pedal. Of his beloved little purple
box, which he used in mono, he says, “It
was the only chorus that neither degraded
nor added to the bass frequencies, while
also providing a nice sparkle to the pops on
the high end.” As was his practice then, his
bass was recorded straight to a direct box,
then into the chorus pedal, and then into
another direct box, so there would be both
clean and effect tracks to choose from. (In
this case, only the effect track was used.)
The other key to Jason’s woody, growling
tone was his preference for favoring the
bridge pickup. “At that time, I liked getting
a point on my notes, and the Jaco sound
was in everybody’s ears, as well.”
Jason remembers there being a chord
chart with some rhythmic pushes, while
Sanborn described the style he wanted
and largely relied on his talented team to
create and develop parts. Says Neil, “We
did a run-through and maybe two takes,
and that was it. Neither Steve nor I did any
punches or overdubs.”
As the track begins at the intro, Jason’s
chorus pedal can be clearly heard, both on
the long tones and the upper-register peekouts. This continues at Letter A, the A-section alto sax melody. With Gadd implying
a half-time feel and only chordal padding
from the keyboards, Jason’s bass motion
is immediately established as the other
key voice to Sanborn’s sax. The melody is
restated at B, with Jason switching to slapping to up the energy, as Gadd adds pickups to his one and three kick pulse. Neil’s
octave root-b7th patterns reveal his main
influence on the part, Larry Graham.
The song’s chorus, at C, launches the full
funk, as Gadd introduces backbeat snare
cracks and Jason turns up the juice at Sanborn’s urging. The key to the section is the
two-bar phrase Gadd and Jason (he doesn’t
recall which of them) settle into, marked
by the syncopated figure in the second bar,
best seen in bars 41 and 43. Jason generally improvises in the first bar of the phrase,
while catching (sometimes with different
note choices) or making reference to the
syncopation in the second bar. Other signature moves that come to the forefront are
frequent slides into and off notes, and his
wide vibrato, achieved by bending the fretted string down and up with his left-hand
fingers. Among the cooler ideas he spews in
this section are bars 40 and 52, in which the
lower octaves at the end of the bar are only
fretted, not attacked with the right hand.
Letters D and E return to the intro and A
section of the song, respectively. Jason stays
in the same vein as previously, adding subtle
variations (dig the melodic move in bar 69).
The extended out chorus commences at F,
with Jason immediately upping the rhythmic quotient. Notable bars include 80–81,
86 (and the similar 90), 96–98 (in which
Neil fleshes out an idea), 100, and 102–103.
Typical of session cats letting loose during
the fade is Jason’s finger-plucked upper-register fill in bars 104–105. “In pop, rock, and
R&B, I would try to develop a bass line with
only subtle variations because I wanted it
to be felt as part of the song, not a performance within the song. But in a jazz instrumental situation like this, your performance
is part of the song. Still, listening back now,
I can’t believe how many notes I played! I
sure would play less today; to slap and slide
and land in the right places—what a chance
to take in the middle of a live recording!”
As for play-along advice, Neil, who still
subs for Will Lee on the Letterman Show
between writing and studio dates, stresses,
“Listen to and lock with the drums. Steve
Gadd’s perfect performance is what makes
me sound good.” He continues, “For me,
slapping has two main ingredients. The first
HEAR IT ON
David Sanborn, Hideaway
[Warner Bros., 1979]
TEN OTHER GREAT
NEIL JASON TRACKS
1. Brecker Brothers, “East River” [Heavy
Metal Bebop, Arista, 1978]
2. John McLaughlin, “Friendship” [Electric Guitarist, Columbia, 1979]
3. Bob James, “Friends” [Lucky Seven,
Columbia, 1979]
4. Diana Ross, “Why Do Fools Fall in Love?”
[Why Do Fools Fall in Love, BMG, 1981]
5. Roxy Music, “To Turn You On” [Avalon,
Virgin, 1982]
6. Cyndi Lauper, “Girls Just Wanna Have
Fun” [She’s So Unusual, Sony, 1984]
7. Dire Straits, “One World” [Brothers in
Arms, Warner Bros., 1985]
8. Michael Franks, “Your Secret’s Safe With
Me” [Skin Dive, Warner Bros., 1985]
9. Cyndi Lauper, “True Colors” [True Colors, Sony, 1986]
10. Paul McCartney, “Pretty Little Head”
[Press to Play, Gold Rush, 1986]
is that you’re the bassist and the drummer
at the same time, so when you practice,
make sure some part of what you’re slapping
and popping is continuously rolling along,
keeping time. That’s what I got from Larry
Graham; when he plays by himself you still
hear the drums. The other key is you have
to listen to and phrase like the drummer
you’re playing with. You can’t challenge his
or her groove, time, and swing; you have
to match and fit in-between where they put
their upbeats, how far they lay back, and
how they feel the spaces. Do that and you’ll
sound like a pocket genius!” SM
DAVID SANBORN “Hideaway”
Transcription by Chris Jisi
Med. funk
= 114
Ab7
Ab7sus4
Ab7
Ab7sus4
Gb7
Gb7sus4
Gb7
Gb7sus4
Ab7
Ab7sus4
Ab7sus4
Ab7
Gb7
Gb7sus4
Intro
S
S
17
16
6 4
4
4 3 2
(0) 2 3 4
(0) 4 3 2
Hideaway By David Sanborn Copyright © 1980 HIATUS MUSIC All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard Corporation
57
TRANSCRIPTION
8
Gb7
G7
A
S
H
4
2
13
3
4
2 4
S
1 2 3 4
4
4
S
(4)
4
4
4
Ab7
2
3
4
Bb7
22
6
G7
1
E7
2
Gb7
3
4
G7
4
B
3
1
S
0
2
Db7
3
T
4
T
P H
4
T
S
6
4
4
4
P
P
P
9
9
8
7
T
P
6
D7b5
Db7
5
4
4
4
P
4
2 4
5
2
6
B7
P
6
T
PO
6
T
4
4
P PO
T
4
4
58
P H
4
T
T
S
6
4
S
5
P
T
8
6
P
T
8
6
P
P
T
P
4
4
T
T
PO
H
6
6
4
5
P
6
P
T
4
4
E7
T
T
6
4
4
4
4
Db7
T
T
4
Ab7
4
7
P
4
30
6
B7
3
4
T
4
D7b5
Eb7sus4
6 4
C7
T
4
T
6
4
Db7
5 5
Ab7sus4
T
7
6
H
PO
6
Db7
T
4
Eb7
E7
S
8
9
Ab7
PO
6
(7)
26
P PO
6
Ab7sus4
P
S
4
6
4 6
S
0
9
S
8 6
S
6
S
Eb7sus4 D7b5
6
4
E7
18
(4) 4 4
Db7
Ab7
Ab7sus4
4
1 2 3 4
Eb7
E7
Db7
Ab7
Ab7sus4
4
4
4
T
P H
T
T
P PO
6
6
4
4
4
T
T
T
H
4
0
5
S
7
2
TRANSCRIPTION
Ab7
34
P
S
T
PO
6
C
D7b5
Db7
T
T
T
P
T
H
4
4
4
38
P
G7
6
6
4
P
T
P
6
5
5
4
Bb7
B7
C7
T
P
5
4
T
P
4
3
3
2
1
E7
T
0
T
T T
P
H
(6)
(0) 7 9
7
P
T
S
7
(5)
T
0
T
T
T
0
2
4
T
T
T
T
S
(7)
T
S
P T
T
P
P
9
0
6
7
5 7
P
T
6
7
T
T
T
0
2
4
T
S
9
(7)
42
T
P
T
H
T P
7 9
T
T
T
T
4
(0) (0)
0
T
T
S
7
5
4
T
P
0
2
4
(7)
P
P
7
9
T
T
T
T
T T
T
T
0 (0)
5
4
5
T
T
T
5
7 5
T
H
S
7
0
5
9
(0)
S
6
(7)
46
T
P
P
P
9
7
11
T
T
T
T
S
9
(5)
T
T
7
4
5
7
7
(0)
P
P
7
9
(7)
T
0
T
T
7
9
T
6
H P
12 13
50
T
T
P
P
7
(0)
T
P
S
9
7
Bb7b5
53
T
S
T
D
T
Ab7sus4
Ab7
6
2
4
T
H
6
4
5
T
S
T
P
T
(9)
(7)
0
(7)
4
Gb7
Gb7sus4
Ab7
Ab7sus4
P
S
(7)
5
T
P
T
S
7
(5) 5
9
7
S
7
5
S
6
4
Ab7
Ab7sus4
Gb7sus4
Gb7
S
H
6 8 6 8
0
T
12
10
(7)
T
T
15
14
6
4
3
2
2
3
4
59
TRANSCRIPTION
59
Ab7sus4
Gb7
Gb7sus4
Ab7
G7
Gb7
Ab7sus4
E
P
S
3
2
2
Db7
P
T
PO
6
P
4
4
P
T
H
S
6
4
4
Db7
9
T
P
T
6
6
4
6
P
T
PO
4
P
T
H
4
73
T
P
S
4 6
4 4
6
G7
D7b5 Db7
T
T
T
T
P
8
6
P
5
P
5
4
T
T
T
P
T
T
P
S
3
2
T
T
T
6
6
P
T
4
4
T
4
2 1
T
4
1 2 3 4
T
T
T
E7
P T P T P T
T
S
T
S
4 0
F
4
3
4
1 2 4
Bb7
T
P
4
4
B7
T
P
Ab7
6
4
C7
T
T
T
6
5
B7
E7
P
T
7
6
3
P
8
4
4
4
68
6
6
S
4
T
4
4
T
H
Db7
D7b5
Eb7sus4
4
4
P
PO
6
P
T
Ab7
P
T
T
T
PO
6
6
4
8
7
4
P
T
H
Ab7sus
P
9
7
P
4
4
Eb7
E7
64
3
T
PO
6
4
B7
Ab7
(9) 9 9
(7) (7) 4
0
T
T
5
S
P
P
9
7
S
P
6
5 7
78
T
T
T
T
T
T
T
T
S
0 (0)
5
7
(0)
5
4
P
P
S
11
9
P
P
S
13
(15)
T
T
T
T
T
T
S
T
P
H
5 7
7
5
0
(0)
4
H
7 9
5 5 7
T P
T
H
7 9
P
T
S
7 6
(7)
(7)
82
T
T
T
T
P
T
P
4
7
5
6
0
60
5
7 4
S
T
6
4
T
T
T
T
S
0
7
7
7
(7)
T
T
0 (0)
P
5
P
P
7
9
P
4
P
5
T
T
T
T
T
S
0
2
3
4
(7)
TRANSCRIPTION
86
T
P
S
T
9
5 7
P
P
6
7
P
P
P
(7) 6
7
T
T
T
T
T
T
T
T
T
T
T
T
T T
T
T
T
T
S
7
(7) 7
5
4
5
S
7
4
(0)
4
5
5
7
(5) 7
5
4
5
(7)
90
T
T
S
P
P
P
P
PO
7
6
7
7 6 7
P
T
T
T
T
T
T
(7)
5 7 (7)
P T T P
T P
S
7
6
(0) 0
3
7 (7)
4
P
P
(9) 9
0 (7)
T
P
T
T
T
S
7 9
5
6
7
(7)
94
T
P
S
T
T
(9)
5 7
P
T
T
9
P
7
(7) (7)
7
P
H
P
T
T
T
T
T
T
T
P
S
6 6 7
(7)
5
6
7
T
T
P PO
0
(0)
9
(7)
7
(7) (7)
T
T
11 9
P
9
(0) (7)
97
T
P
T
T
H
T
P PO
H
7 9
7
(7)
T
P
T
T
9
11 9
0 7 9
T
T
9
(7)
0
T
P
P
PO
T
P
0
9
T
T
T
T
S
9
11 9
(7) (7)
T
(7)
0
0
2
3
(7)
4
100
T
P
H
T T
9
5 7
P
6
P
PO
P
T
P
T
T
T
T P T T
7 6 6 7
(0) 5
(2)
(3)
4
T
P
H
(6)
(4) (4) 4
0
T
9
5 (0) 7
T
PO
7
P
P
P
H PO
6 7 6 7 6
P
PO S
7 6 4
0
104
T
T
T
P
P
P
11 12 13
0
(5)
(7)
Finger-plucked
19
T
T
S
19 18 16 18 16
(7)
0
T
P
P
(7)
(9)
(0)
T
T
T
T
T
4
5
5
6
7
61
TRANSCRIPTION
MIDORI TSUKAGOSHI
JAMIROQUAI’S
“VIRTUAL INSANITY”
Stuart Zender’s Complete Bass Line
BY BRYAN BELLER
FOR ALL THE TIMES MUSIC FANS AND
musicians alike bemoan the lack of musical depth in chart-topping tunes, it’s worth
noting the happy exceptions to that perception. One such time was in 1997, when
an eclectic group of young British funk
disciples called Jamiroquai broke through
with an irresistible international smash hit.
Driven by jazzy piano chords, a cool-as-ice
62
front-man vocal track, and a super-swinging
rhythm section, the song “Virtual Insanity”
suddenly took over the world. It swept that
year’s MTV video music awards (who can
forget the groundbreaking “moving white
floor in the hallway” video?), the album
Traveling Without Moving went platinum
and triple platinum in the U.S. and U.K.
respectively, and Jamiroquai brought its
version of uncompromisingly rich, jazzy,
funky pop music to the masses.
The bass line, a virtuosic opus of both
slap and fingerstyle funk, was played by the
band’s original bassist, the U.K.-born but
Philadelphia-bred Stuart Zender. He was
only 22 when he cut the track, and you can
hear his youthful enthusiasm sprinkled all
over the line; this was one occasion where
TRANSCRIPTION
STUART ZENDER ON
“VIRTUAL INSANITY”
What instrument did you use to track
“Virtual Insanity”? Do you recall the rig?
I used a Warwick Streamer Stage I
employing fills and chops in a funk tune
really paid off. It’s hard to imagine an older
session cat going for some of the heavy
lumber that Stuart laid down in the final
chorus. But Zender’s thoughtful application of techniques spoke volumes about
the timeless nature of his groove.
Zender plays Warwick basses, and you
can hear the thick, super-woody tone of his
Stage I 5-string whether he’s using his fingers
or his thumb. The tune’s mix is a little murky
in spots, and while the groove never stops, a
close listen leaves you wishing they left more
sonic room for his ghost-note articulations.
Take that under advisement as you read the
transcription, but don’t let it get in the way
of tackling it—playing this tune is addictive!
Right from the very first notes, you know
you’re in for a ride. After laying out for the
first verse, Zender comes flying in at bar 20
with an 18th-fret flurry that can be plucked,
tapped, or slapped—your choice—before
launching the chorus groove that shook a
thousand ’90s dance floors.
Zender’s line works particularly well
against the chords in the chorus (we’re in Eb
minor, a key that lends itself to some hairy
accidentals, so heads up). It kicks off at bar
21 with a slap octave under B major, then
swings to a Bb7 with D in the bass. Zender
anticipates that chord with an Ab 16th-note
at the end of beat two, which sets up his Bb
major arpeggio lick on the next beat. That
lick ends on D, employing a nice upwardleading motion into the tune’s root chord,
Ebm7. The ascent continues with a new
chord on every quarter-note of bar 22: Gb,
Abm, and Ebm/Bb. Zender plays a catchy,
octave-driven slap-funk pattern underneath
the climb and hits the final chord on the
second 15th-note of beat four: there’s your
packed dance floor, ladies and gentlemen.
Stuart gives his thumb a rest for the verse,
digging in with his fingers and locking in
with the bass drum through the cyclical and
equally rich chord structure (for extra credit,
try figuring out the piano chord voicings by
ear; they’re awesome). The bar phrasing is
key here, as you essentially have a three-bar
pattern with a bar of 2/4 tacked onto the
end as a turnaround. The first two of the
three full bars (29 and 30) go from Ebm7
to Ab7, and the phrase continues on the
cycle-of-5ths path to Db7 and Gb6. Bar 31 is
the beginning of the harmonic turnaround,
with Cdim and Bmaj7 splitting the bar and
pointing down to the Bb augmented chord in
the 2/4 bar. Through all this Zender keeps it
pretty simple, using octaves and chromatically
climbing into the second chord of bars 29
and 30, and not giving away the cut-bar’s
metric shift by staying consistent in bars 31
and 32. The overall result is a slick groove
that never seems to resolve itself until the
chorus comes around again.
That’s the whole tune right there: verse
and chorus, two different chord structures,
two different bass lines, one fingerstyle and
one slapped. But as the song progresses,
Zender starts throwing in signature licks
and fills, forever stamping the tune as his
own. Check out the trills in the verse turnaround at bars 36, 40, and 44. That’s funky.
Then, in the second chorus at bar 49, he
foreshadows the hairy 16th-note triplet slap
fills coming down the pike.
Here’s your challenge for the month:
bars 52, 56, 76, and 80. They’re all in the
chorus, and all variations on Zender’s propensity for slapped 16th-note triplets. He
lays into them so powerfully that the rest of
the band ultimately follows suit. Even the
drummer’s hi-hat pattern eventually goes
along for the ride!
One final note for those who know the
tune: that slap-sounding fill at the end of
the breakdown—two bars before F, bar
67—is actually a guitar. I always thought it
was a bass myself, but Stuart says he didn’t
do it, only re-entering at 68 for a greasy
fingerstyle fill.
Citing influences like James Jamerson,
Larry Graham, Verdine White, Stanley
Clarke, Bootsy Collins, and Alphonso
Johnson, the young Stuart Zender was a
funk machine waiting to happen. Though
Jamiroquai enthusiasts were already hip to
him, “Virtual Insanity” widely cemented
5-string with MEC pickups. The bass was
recorded direct, and I also had a Mesa
Boogie 4x10 with various mics on it.
How did you construct the groove
and bass line?
We all used to jam in a room, and this
tune was one of those jams. Like a lot of
the bass lines I came up with, it was the
first thing that came into my head. The
first thing is usually the right thing. I left
the beginning empty because I thought
the bass it would have more of an impact
coming in on the chorus. For the verse,
my right hand dampened the strings, and
I used my thumb and index finger to play
octaves. I slapped on the chorus and used
a lot of dampened triplets and glissandos for fills. I think some people thought
it was the bass drum, but it was actually
the bass. As for the groove, well, I guess
that’s in the heart.
What was it like playing it live?
It was a joy to play live because of the
two techniques I used—plus I love a good
ol’ triplet here and there. The groove that
[drummer] Derrick McKenzie and I had
was tight, and I loved locking in with him.
What does this song mean to you
now, ten years on from its initial release?
It’s funny how many people never listen
to lyrics. The lyrics in the song were quite
deep, yet the song had happy chords, so
I guess it went over most people’s heads.
As for the music, Maroon 5 gave us the
biggest compliment by using the essence
of the song in one of theirs. Do you know
which one? Ha ha. I don’t like Mondays …
but I love Sunday mornings!
Zender’s credentials as a young funk pioneer from that day forward. Since leaving
Jamiroquai in 1998, he’s worked with Lauryn
Hill, D’Angelo, Stevie Wonder, and Amy
Winehouse, among many others, and he’s
still very active as a player, singer/songwriter,
and producer. Anyone who checks out the
funk he brought to this tune can certainly
see why. BP
63
TRANSCRIPTION
JAMIROQUAI “Virtual
Insanity”
Transcription by Bryan Beller
Bbaug
Bmaj7
Verse 1
Drums in
A
= 92
B
18 18
18 18
181813
Ebm7 Gb
Ebm/Bb Bmaj7
Abm
Bb7/D
Gb
Ebm7
3
Bb7/D
Chorus 1
T P
P
P T
9
6
8
8 5
7
Ebm/Bb Bmaj7
Abm
T
Bb7/D
21
T
P
T
8
6
P T P T
P
4
6
2
Ebm7
4
2
T
T T
P
9
4
Gb
T
6
Abm
5 5
7
Ebm7/Bb Bmaj7
P T T
8
T P
T
P
T
(8)
8
(6) 6
8 5
P T P
4
2
P
T P
T
6
2
6
Abm
25
P T T
T
9
4
Ebm7 Gb
Bb7/D
T
4
8
5
7
Ebm7/Bb
Ebm7
C
8 5
Ab7
Verse 2
S T P T
T
8
6
6
P T
P T
P
4
4
6
2
2
T
Db7
9
1
4
P T
T P
8
7
8 5
T P T
P
T
8
8
6
6
P T
T
T
S
4
2
2 4
8
4
6
(13)
5
2
3
6
4
4
Ab7
Ebm7
Bbaug
Bmaj7
Cdim
Gb6
T
29
6
4
2
0
3
1
4
2
5
(2)
1
Cdim
Gb6
Db7
4
3
3
2
(0)
1
6
8
4
4
6
Bbaug
Bmaj7
4
2
5
3
6
4
Ebm7
4
Ab7
33
6
4
2
0
3
1
4
2
5
2
3
4
2
2
3
1
1
S
6
4
4
4 6
8
4
2
5
3
6
4
“Virtual Insanity” Words and Music by Jason Kay and Toby Smith. © 1997 EMI MUSIC PUBLISHING LTD.
All Rights for the U.S. and Canada Controlled and Administered by EMI BLACKWOOD MUSIC INC. All Rights Reserved.
International Copyright Secured. Used by Permission. Reprinted by Permission of Hal Leonard Corporation.
64
3
TRANSCRIPTION
Gb6
Db7
Cdim
Bmaj7
Ab7
Ebm7
Bbaug
37
6
(2)
4
3
0
5
4
1
1
2
Db7
4
3
3
2
S
6
1
Cdim
Gb6
3
4
Bmaj7
6
4
4
0 1
Ebm7
Gb
2
2
3
1
Ebm/Bb Bmaj7
Abm
2
1
Gb
Ebm7
Bb7/D
6
3
4
T
13
Bb7/D
P
P
T
9
8
T
8 5
7
Ebm/Bb Bmaj7
Abm
4
Chorus 2
S
4
5
2
Bmaj7
D
5
4
6
Bbaug
41
6
8
4
Bb7/D
45
P
8
T
T P T P T
4
6
2
4
T
T P
P
P T
9
8
8
6
2
4
Gb
Ebm7
P
6
7
Abm
Ebm/Bb Bmaj7
T
T T
T
P
P
T P T P
4
8 1
8 5
2
Bb7/D
4
2
P
T
8
T
P
T
T
6
6
2 2 4
Ebm7
6 6 6
Abm
Gb
P
T P T T
9
5
7
Ebm/Bb Bmaj7
8
P
T
(8)
8 5
6
4
3
P
Gb
3
6
P
T
8
T
T
P
T
T
6
6
2 2 4
Ebm7
Gb
6
P
P
9
(8)
7
Bb7/D
Ebm/Bb
Abm
P T
8
T
8 5
P
8
T
6
P
8
6
T P T P T P
Ebm7 Gb Abm
6
4
2
P
T T
2 4
6 6
P
P T
9
6
8
7
6
8
T
P S
T
1
(8)
8 5 (5)
Bb7/D
P
P
P T
9
6
8
7
(2)
Abm
3
T P T P
Ebm/Bb
Bmaj7
T S
T
6
T
P
(8)
8 5
Bb7/D
P
P T
4
3
2
3
T
5
3
T P
6 6
9
7
3
T TP T
Bbaug
E
T P T T P
P T
(4) 4 4
(6) 6
(2) 2 2
4 (4) 6
Bmaj7
57
T
P
Bmaj7
Abm Ebm/Bb
53
T
T P
6
(4) (4)
(2)(2) (2)(2)
Ebm7
T
4
T T P T T P
8
6
Bb7/D
P T P
Gb
Ebm7
49
T
T
T
T
8 5
6
8
T T T P
6
Breakdown
8 6
8
6
8 6
2 2 4
65
TRANSCRIPTION
68
F
Bmaj7
Bb7/D
Gb
Ebm7
Abm
Bb7/D
Ebm/Bb Bmaj7
Abm
Ebm7 Gb
Ebm/Bb
Chorus 3
T
P
P T
9
8
7
T
P
T
T
P
T
T
6
6
8 5
4
2 2
Ebm7 Gb
Bb7/D
Bmaj7
T
8
6
P
S P
9
6 8
T
8 5
7
Ebm/Bb
Abm
P T
8
P
P T
9
6
8
7
Bmaj7
T
P
T P
8 5
T P T P T P
8
8
4
6
4
2
2
Bb7/D
P
T
T
6 (6)
4
6
P
T
T
T
P
P T
6
(8)
2 2 4
Ebm7 Gb
6
Abm Ebm/Bb
6
3
P
P
P T
9
6
8
Abm
T T T P
P T T P T T T P T T PT
(8)
8 5 (5)(5)
7
Gb
Ebm7
P
1 1
Bb7/D
Bmaj7
72
T P
P
8
8
8
5 6
6
2 2
PS T
4
8 13
2 2 4 6
Bb7/D
Bmaj7
Ebm/Bb
4
76
T
P
P
P
9
6
8
7
Ebm7
Gb
T
T
P
T
8
8 5
6
Ebm/Bb
3
P
8
4 6
T
P T P T P T
S T
P
T
T
P
T
6
8
(4) (4) (4)
2
(4) 6
6
(2) (2) (2) 2 4
Bb7/D
Bmaj7
T
P
T
P
4
T
4
2
2
P
P
P
6
(6)
8
4
7
66
P
P
P
6
8
Ebm7
T
T
8 5
6
7
P
P
P
9
6
8
Ebm7
T
P
P
9
8
7
Gb
T
T
T
6
T
6
P
8
T
Gb
T
T
P
P
(8)
8 5
(6)
Ebm/Bb
Abm
P
T
2
P
T
T
6
G
3
T
T
T
T
6 4
6
4
2
T
T
6
P
8
T
P
T
T
4
2
2
4
P
P
6
6
T
6
Ebm/Bb
Abm
4
P
(8)
8 5
3
9
T
Bb7/D
Bmaj7
82
T
T
3
79
T
T
8
6
Abm
6
P
4 4 4
Ending (piano only)
rit.. . . . . . . . . . . . . . . . .
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